The Latinx community is the largest and fastest-growing ethnic group in the United States. However, there is a gap between the demand for accurate information and the supply of it. To address the need, KQED offers a range of journalism, events and engagement of interest to, by, and with Bay Area Latinx audiences.
Luis Valdez Claims the Spotlight in ‘American Pachuco’
SF’s ‘House of Latin Rock’ to Receive Landmark Status, Preserving Mission’s Music History
This Oakland-Based Fashion Designer Tells Her Story Through Reclaimed Fabrics
Remember Your Mom’s ‘Tanda’? Young Latinos Are Giving It a Tech-Savvy Twist
For Bay Area Latinos, World Cup Is a Celebration of Pride and Identity
At 250, America’s Story Includes California Long Before It Was American
Carnaval San Francisco 2026: From Parade Route to Parking, What to Know This Weekend
Carnaval San Francisco Turns Music, Memory and Resistance Into Celebration
La Doña Traveled to 5 Countries to Make Her Borderless Album, ‘Corrientes’
What Picking Cherries Taught Me as California Reconsiders Farmworker Legacy
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"content": "\u003cp>Luis Valdez was just a young boy when he landed his first theatrical role. Before he could join his classmates on stage, however, his family was evicted on short notice, and forced to move.\u003c/p>\n\n\n\n\u003cp>All these years later, Valdez, one of 10 children of California migrant farmworkers, still remembers the pain. He could have slipped down the hole of disappointment. Instead, he says, “It became the hungry mouth of my creativity.”\u003c/p>\n\n\n\n\u003cp>In David Alvarado’s crisply entertaining documentary \u003cem>American Pachuco: The Legend of Luis Valdez\u003c/em>, ample justice is given to a gifted artist who transcended his circumstances and carved new trails. The film, which earlier this year won an Audience Award at Sundance, opens Friday, July 31 at the Roxie Theater with director David Alvarado and Valdez himself on hand.\u003c/p>\n\n\n\n\u003cp>The Delano, California-born Valdez wrote and directed plays for El Teatro Campesino (The Farm Workers Theatre), which he founded in his early 20s and led for decades. His major works include \u003cem>Zoot Suit\u003c/em> (the first Chicano play on Broadway, later adapted into a film) and \u003cem>Corridos! Tales of Passion and Revolution\u003c/em>, a hit at San Francisco’s Marines Memorial Theater in the early ’80s (and which Valdez adapted a few years later for PBS).\u003c/p>\n\n\n\n\u003cp>Valdez’s most widely seen work, however, is \u003cem>La Bamba\u003c/em>, the 1987 biopic of Chicano rock ‘n’ roller Richie Valens that Valdez researched, wrote and directed. (Among its other lasting merits, the film also yielded Los Lobos’ hit cover of the title track.)\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1125\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/americanpachuco_still_02.jpg\" alt=\"Four men, outdoors and seen from below, act out a scene dressed in simple clothes and wearing signs around their neck to indicate which group they belong to.\" class=\"wp-image-13992059\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/americanpachuco_still_02.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/americanpachuco_still_02-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/americanpachuco_still_02-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/americanpachuco_still_02-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/americanpachuco_still_02-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Luis Valdez (center) performing with El Teatro Campensino with Felipe Cantu (left) and Danny Valdez (right) in a scene from the documentary ‘American Pachuco: The Legend of Luis Valdez.’ (Courtesy of the Tom & Ethel Bradley Center at California State University, Northridge)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>\u003cem>American Pachuco: The Legend of Luis Valdez\u003c/em> employs two narrators. Valdez, sharp and jovial in his mid-80s, recalls his youthful stint with the San Francisco Mime Troupe before getting involved in the nascent National Farm Workers Association (NFWA) founded by Cesar Chavez in 1962. The Mime Troupe’s influence colors Valdez’s early plays like \u003cem>The Shrunken Head of Pancho Villa\u003c/em>, which used absurdist comedy to depict the economic and social situation of Mexican and Mexican-American laborers and their families.\u003c/p>\n\n\n\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>During the catalytic NFWA march to Sacramento in the spring of 1966, El Teatro Campesino performed in many places along the route, attracting new participants to the cause. Chavez, meanwhile, decided he needed organizers and activists for NFWA’s expanding national campaign more than he needed actors, and Valdez and his cohorts set off on their own, making San Juan Bautista their base.\u003c/p>\n\n\n\n\u003cp>David Alvarado illustrates this splendid oral history with acres of compelling archival footage — the young Valdez, sporting an omnipresent Che Guevara-esque cigar, is charming and charismatic. Alvarado bolsters this through interviews with NFWA luminary Dolores Huerta, as well as Valdez’s brother and wife, who performed with El Teatro Campesino.\u003c/p>\n\n\n\n\u003cp>Alvarado also makes an unexpected and rather risky choice. He invites a second narrator, a streetwise commentator, to this genially mannered affair: a pachuco, similar to the swaggering L.A. protagonist of \u003cem>Zoot Suit\u003c/em>, a 1940s “street cat with style.”\u003c/p>\n\n\n\n\u003cp>For that play, Valdez drew on grim, forgotten events in Southern California history, namely the Sleepy Lagoon murder that preceded the Zoot Suit Riots of 1943. The riots consisted of servicemen and sailors attacking Mexican-American youths and ripping off their clothes – their justification being that zoot suits used an excessive and “unpatriotic” amount of fabric during wartime rationing.\u003c/p>\n\n\n\n\u003cp>It was blatant racism, of course. The zoot suit, in the ’40s and in Valdez’s play, was an expression of identity and style. It was adopted by guys whose parents worked menial jobs to make a better life for their kids. (Like the fieldwork of the ’60s and the stockyard labor of today, the jobs were essential, arduous and largely performed by immigrants.)\u003c/p>\n\n\n\n\u003cp>This is the quintessential American phenomenon — children of immigrants navigating racist treatment on the slow path to assimilation. The zoot suiters of the ’40s, just like the newly minted Chicanos of the ’60s, were simply trying to make their way.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1125\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/americanpachuco_still_03.jpg\" alt=\"An older latino man in a Black jacket and glasses sits inside a high-ceiling church-like building, with chandeliers and wooden features\" class=\"wp-image-13992061\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/americanpachuco_still_03.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/americanpachuco_still_03-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/americanpachuco_still_03-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/americanpachuco_still_03-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/americanpachuco_still_03-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Luis Valdez being interviewed in a scene from the documentary ‘American Pachuco: The Legend of Luis Valdez.’ \u003cbr> (Frasier Bradshaw)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>A recurring thread of \u003cem>American Pachuco\u003c/em> is the divergent path of Luis Valdez’s older brother Frank, a science whiz who became an Air Force engineer. Frank believed that achieving the American dream was his ticket to burying and denying his roots as a child of farmworkers. No matter what he accomplished, though, the racism he encountered reminded him that many people saw him as Mexican, not American.\u003c/p>\n\n\n\n\u003cp>One of the functions of the documentary’s pachuco commentator (voiced by \u003cem>Zoot Suit\u003c/em> star Edward James Olmos) is to mirror Valdez’s affection for knocking down the fourth wall separating the audience from the performers. His early plays included improvisation and audience participation. The protagonist of \u003cem>Zoot Suit\u003c/em> famously addresses and confronts the audience directly.\u003c/p>\n\n\n\n\u003cp>By including the pachuco, I think Alvarado is nodding to Valdez’s sophistication as a writer and director. He was not only well-versed in the dynamics of agitprop and commedia del’arte, but in the theory and philosophy of theater. This intellectual component of Valdez’s practice — alluded to when the visionary director Peter Brook visits El Teatro Campesino — is downplayed in the documentary, as if it might distract us from the hard lessons of the fields and the streets. \u003c/p>\n\n\n\n\u003cp>The second half of \u003cem>American Pachuco\u003c/em> walks us backstage for Valdez’s greatest hits, \u003cem>Zoot Suit\u003c/em> and \u003cem>La Bamba\u003c/em>. The L.A. triumph of \u003cem>Zoot Suit\u003c/em> is the film’s highpoint, a moment of public celebration of Chicanos as well as of Valdez, while the New York reviewers’ failure to connect with the culture and language led to them criticizing what they couldn’t understand.\u003c/p>\n\n\n\n\u003cp>In the wake of the \u003cem>pachucos\u003c/em>, Richie Valens emerged in the ’50s with, as one interviewee notes, “Different threads. Different beats. But he had the same swagger.” It’s fair to say that Luis Valdez got past his devastating childhood letdown the same way: through talent and swagger.\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003cem>‘American Pachuco: The Legend of Luis Valdez’ opens Friday, July 31, at the \u003ca href=\"https://roxie.com/film/american-pachuco-the-legend-of-luis-valdez/\">Roxie Theater\u003c/a> (3116 16th St., San Francisco). Following the 6:10 p.m. screening, Roberto Hernandez moderates a Q&A with Luis Valdez and filmmakers David Alvarado, Everett Katigbak and Lauren DeFilippo.\u003c/em>\u003c/p>\n\n\n\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Further Q&As with Alvarado take place on Saturday, Aug. 1 at the \u003ca href=\"https://rafaelfilm.cafilm.org/american-pachuco/\">Smith Rafael Film Center\u003c/a> in San Rafael; Saturday and Sunday, Aug. 1 and 2, at \u003ca href=\"https://rialtocinemas.com/now-playing-elm/american-pachuco-elm/\">Rialto Cinemas Elmwood\u003c/a> in Berkeley; and Sunday, Aug. 2, again at the Roxie\u003c/em>.\u003c/p>\n\n",
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"innerHTML": "\n\u003cp>The Delano, California-born Valdez wrote and directed plays for El Teatro Campesino (The Farm Workers Theatre), which he founded in his early 20s and led for decades. His major works include \u003cem>Zoot Suit\u003c/em> (the first Chicano play on Broadway, later adapted into a film) and \u003cem>Corridos! Tales of Passion and Revolution\u003c/em>, a hit at San Francisco’s Marines Memorial Theater in the early ’80s (and which Valdez adapted a few years later for PBS).\u003c/p>\n",
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"innerHTML": "\n\u003cp>Valdez’s most widely seen work, however, is \u003cem>La Bamba\u003c/em>, the 1987 biopic of Chicano rock ‘n’ roller Richie Valens that Valdez researched, wrote and directed. (Among its other lasting merits, the film also yielded Los Lobos’ hit cover of the title track.)\u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cem>American Pachuco: The Legend of Luis Valdez\u003c/em> employs two narrators. Valdez, sharp and jovial in his mid-80s, recalls his youthful stint with the San Francisco Mime Troupe before getting involved in the nascent National Farm Workers Association (NFWA) founded by Cesar Chavez in 1962. The Mime Troupe’s influence colors Valdez’s early plays like \u003cem>The Shrunken Head of Pancho Villa\u003c/em>, which used absurdist comedy to depict the economic and social situation of Mexican and Mexican-American laborers and their families.\u003c/p>\n",
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"innerHTML": "\n\u003cp>During the catalytic NFWA march to Sacramento in the spring of 1966, El Teatro Campesino performed in many places along the route, attracting new participants to the cause. Chavez, meanwhile, decided he needed organizers and activists for NFWA’s expanding national campaign more than he needed actors, and Valdez and his cohorts set off on their own, making San Juan Bautista their base.\u003c/p>\n",
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"innerHTML": "\n\u003cp>David Alvarado illustrates this splendid oral history with acres of compelling archival footage — the young Valdez, sporting an omnipresent Che Guevara-esque cigar, is charming and charismatic. Alvarado bolsters this through interviews with NFWA luminary Dolores Huerta, as well as Valdez’s brother and wife, who performed with El Teatro Campesino.\u003c/p>\n",
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"\n\u003cp>David Alvarado illustrates this splendid oral history with acres of compelling archival footage — the young Valdez, sporting an omnipresent Che Guevara-esque cigar, is charming and charismatic. Alvarado bolsters this through interviews with NFWA luminary Dolores Huerta, as well as Valdez’s brother and wife, who performed with El Teatro Campesino.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Alvarado also makes an unexpected and rather risky choice. He invites a second narrator, a streetwise commentator, to this genially mannered affair: a pachuco, similar to the swaggering L.A. protagonist of \u003cem>Zoot Suit\u003c/em>, a 1940s “street cat with style.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>For that play, Valdez drew on grim, forgotten events in Southern California history, namely the Sleepy Lagoon murder that preceded the Zoot Suit Riots of 1943. The riots consisted of servicemen and sailors attacking Mexican-American youths and ripping off their clothes – their justification being that zoot suits used an excessive and “unpatriotic” amount of fabric during wartime rationing.\u003c/p>\n",
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"innerHTML": "\n\u003cp>It was blatant racism, of course. The zoot suit, in the ’40s and in Valdez’s play, was an expression of identity and style. It was adopted by guys whose parents worked menial jobs to make a better life for their kids. (Like the fieldwork of the ’60s and the stockyard labor of today, the jobs were essential, arduous and largely performed by immigrants.)\u003c/p>\n",
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"innerHTML": "\n\u003cp>This is the quintessential American phenomenon — children of immigrants navigating racist treatment on the slow path to assimilation. The zoot suiters of the ’40s, just like the newly minted Chicanos of the ’60s, were simply trying to make their way.\u003c/p>\n",
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"innerHTML": "\n\u003cp>A recurring thread of \u003cem>American Pachuco\u003c/em> is the divergent path of Luis Valdez’s older brother Frank, a science whiz who became an Air Force engineer. Frank believed that achieving the American dream was his ticket to burying and denying his roots as a child of farmworkers. No matter what he accomplished, though, the racism he encountered reminded him that many people saw him as Mexican, not American.\u003c/p>\n",
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"innerHTML": "\n\u003cp>One of the functions of the documentary’s pachuco commentator (voiced by \u003cem>Zoot Suit\u003c/em> star Edward James Olmos) is to mirror Valdez’s affection for knocking down the fourth wall separating the audience from the performers. His early plays included improvisation and audience participation. The protagonist of \u003cem>Zoot Suit\u003c/em> famously addresses and confronts the audience directly.\u003c/p>\n",
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"innerHTML": "\n\u003cp>By including the pachuco, I think Alvarado is nodding to Valdez’s sophistication as a writer and director. He was not only well-versed in the dynamics of agitprop and commedia del’arte, but in the theory and philosophy of theater. This intellectual component of Valdez’s practice — alluded to when the visionary director Peter Brook visits El Teatro Campesino — is downplayed in the documentary, as if it might distract us from the hard lessons of the fields and the streets. \u003c/p>\n",
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"innerHTML": "\n\u003cp>The second half of \u003cem>American Pachuco\u003c/em> walks us backstage for Valdez’s greatest hits, \u003cem>Zoot Suit\u003c/em> and \u003cem>La Bamba\u003c/em>. The L.A. triumph of \u003cem>Zoot Suit\u003c/em> is the film’s highpoint, a moment of public celebration of Chicanos as well as of Valdez, while the New York reviewers’ failure to connect with the culture and language led to them criticizing what they couldn’t understand.\u003c/p>\n",
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"innerHTML": "\n\u003cp>In the wake of the \u003cem>pachucos\u003c/em>, Richie Valens emerged in the ’50s with, as one interviewee notes, “Different threads. Different beats. But he had the same swagger.” It’s fair to say that Luis Valdez got past his devastating childhood letdown the same way: through talent and swagger.\u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cem>‘American Pachuco: The Legend of Luis Valdez’ opens Friday, July 31, at the \u003ca href=\"https://roxie.com/film/american-pachuco-the-legend-of-luis-valdez/\">Roxie Theater\u003c/a> (3116 16th St., San Francisco). Following the 6:10 p.m. screening, Roberto Hernandez moderates a Q&A with Luis Valdez and filmmakers David Alvarado, Everett Katigbak and Lauren DeFilippo.\u003c/em>\u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cem>Further Q&As with Alvarado take place on Saturday, Aug. 1 at the \u003ca href=\"https://rafaelfilm.cafilm.org/american-pachuco/\">Smith Rafael Film Center\u003c/a> in San Rafael; Saturday and Sunday, Aug. 1 and 2, at \u003ca href=\"https://rialtocinemas.com/now-playing-elm/american-pachuco-elm/\">Rialto Cinemas Elmwood\u003c/a> in Berkeley; and Sunday, Aug. 2, again at the Roxie\u003c/em>.\u003c/p>\n",
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"excerpt": "The writer-director of ‘La Bamba’ and ‘Zoot Suit’ was also the first Chicano playwright on Broadway.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Luis Valdez was just a young boy when he landed his first theatrical role. Before he could join his classmates on stage, however, his family was evicted on short notice, and forced to move.\u003c/p>\n\n\n\n\u003cp>All these years later, Valdez, one of 10 children of California migrant farmworkers, still remembers the pain. He could have slipped down the hole of disappointment. Instead, he says, “It became the hungry mouth of my creativity.”\u003c/p>\n\n\n\n\u003cp>In David Alvarado’s crisply entertaining documentary \u003cem>American Pachuco: The Legend of Luis Valdez\u003c/em>, ample justice is given to a gifted artist who transcended his circumstances and carved new trails. The film, which earlier this year won an Audience Award at Sundance, opens Friday, July 31 at the Roxie Theater with director David Alvarado and Valdez himself on hand.\u003c/p>\n\n\n\n\u003cp>The Delano, California-born Valdez wrote and directed plays for El Teatro Campesino (The Farm Workers Theatre), which he founded in his early 20s and led for decades. His major works include \u003cem>Zoot Suit\u003c/em> (the first Chicano play on Broadway, later adapted into a film) and \u003cem>Corridos! Tales of Passion and Revolution\u003c/em>, a hit at San Francisco’s Marines Memorial Theater in the early ’80s (and which Valdez adapted a few years later for PBS).\u003c/p>\n\n\n\n\u003cp>Valdez’s most widely seen work, however, is \u003cem>La Bamba\u003c/em>, the 1987 biopic of Chicano rock ‘n’ roller Richie Valens that Valdez researched, wrote and directed. (Among its other lasting merits, the film also yielded Los Lobos’ hit cover of the title track.)\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1125\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/americanpachuco_still_02.jpg\" alt=\"Four men, outdoors and seen from below, act out a scene dressed in simple clothes and wearing signs around their neck to indicate which group they belong to.\" class=\"wp-image-13992059\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/americanpachuco_still_02.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/americanpachuco_still_02-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/americanpachuco_still_02-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/americanpachuco_still_02-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/americanpachuco_still_02-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Luis Valdez (center) performing with El Teatro Campensino with Felipe Cantu (left) and Danny Valdez (right) in a scene from the documentary ‘American Pachuco: The Legend of Luis Valdez.’ (Courtesy of the Tom & Ethel Bradley Center at California State University, Northridge)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>\u003cem>American Pachuco: The Legend of Luis Valdez\u003c/em> employs two narrators. Valdez, sharp and jovial in his mid-80s, recalls his youthful stint with the San Francisco Mime Troupe before getting involved in the nascent National Farm Workers Association (NFWA) founded by Cesar Chavez in 1962. The Mime Troupe’s influence colors Valdez’s early plays like \u003cem>The Shrunken Head of Pancho Villa\u003c/em>, which used absurdist comedy to depict the economic and social situation of Mexican and Mexican-American laborers and their families.\u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>During the catalytic NFWA march to Sacramento in the spring of 1966, El Teatro Campesino performed in many places along the route, attracting new participants to the cause. Chavez, meanwhile, decided he needed organizers and activists for NFWA’s expanding national campaign more than he needed actors, and Valdez and his cohorts set off on their own, making San Juan Bautista their base.\u003c/p>\n\n\n\n\u003cp>David Alvarado illustrates this splendid oral history with acres of compelling archival footage — the young Valdez, sporting an omnipresent Che Guevara-esque cigar, is charming and charismatic. Alvarado bolsters this through interviews with NFWA luminary Dolores Huerta, as well as Valdez’s brother and wife, who performed with El Teatro Campesino.\u003c/p>\n\n\n\n\u003cp>Alvarado also makes an unexpected and rather risky choice. He invites a second narrator, a streetwise commentator, to this genially mannered affair: a pachuco, similar to the swaggering L.A. protagonist of \u003cem>Zoot Suit\u003c/em>, a 1940s “street cat with style.”\u003c/p>\n\n\n\n\u003cp>For that play, Valdez drew on grim, forgotten events in Southern California history, namely the Sleepy Lagoon murder that preceded the Zoot Suit Riots of 1943. The riots consisted of servicemen and sailors attacking Mexican-American youths and ripping off their clothes – their justification being that zoot suits used an excessive and “unpatriotic” amount of fabric during wartime rationing.\u003c/p>\n\n\n\n\u003cp>It was blatant racism, of course. The zoot suit, in the ’40s and in Valdez’s play, was an expression of identity and style. It was adopted by guys whose parents worked menial jobs to make a better life for their kids. (Like the fieldwork of the ’60s and the stockyard labor of today, the jobs were essential, arduous and largely performed by immigrants.)\u003c/p>\n\n\n\n\u003cp>This is the quintessential American phenomenon — children of immigrants navigating racist treatment on the slow path to assimilation. The zoot suiters of the ’40s, just like the newly minted Chicanos of the ’60s, were simply trying to make their way.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1125\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/americanpachuco_still_03.jpg\" alt=\"An older latino man in a Black jacket and glasses sits inside a high-ceiling church-like building, with chandeliers and wooden features\" class=\"wp-image-13992061\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/americanpachuco_still_03.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/americanpachuco_still_03-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/americanpachuco_still_03-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/americanpachuco_still_03-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/americanpachuco_still_03-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Luis Valdez being interviewed in a scene from the documentary ‘American Pachuco: The Legend of Luis Valdez.’ \u003cbr> (Frasier Bradshaw)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>A recurring thread of \u003cem>American Pachuco\u003c/em> is the divergent path of Luis Valdez’s older brother Frank, a science whiz who became an Air Force engineer. Frank believed that achieving the American dream was his ticket to burying and denying his roots as a child of farmworkers. No matter what he accomplished, though, the racism he encountered reminded him that many people saw him as Mexican, not American.\u003c/p>\n\n\n\n\u003cp>One of the functions of the documentary’s pachuco commentator (voiced by \u003cem>Zoot Suit\u003c/em> star Edward James Olmos) is to mirror Valdez’s affection for knocking down the fourth wall separating the audience from the performers. His early plays included improvisation and audience participation. The protagonist of \u003cem>Zoot Suit\u003c/em> famously addresses and confronts the audience directly.\u003c/p>\n\n\n\n\u003cp>By including the pachuco, I think Alvarado is nodding to Valdez’s sophistication as a writer and director. He was not only well-versed in the dynamics of agitprop and commedia del’arte, but in the theory and philosophy of theater. This intellectual component of Valdez’s practice — alluded to when the visionary director Peter Brook visits El Teatro Campesino — is downplayed in the documentary, as if it might distract us from the hard lessons of the fields and the streets. \u003c/p>\n\n\n\n\u003cp>The second half of \u003cem>American Pachuco\u003c/em> walks us backstage for Valdez’s greatest hits, \u003cem>Zoot Suit\u003c/em> and \u003cem>La Bamba\u003c/em>. The L.A. triumph of \u003cem>Zoot Suit\u003c/em> is the film’s highpoint, a moment of public celebration of Chicanos as well as of Valdez, while the New York reviewers’ failure to connect with the culture and language led to them criticizing what they couldn’t understand.\u003c/p>\n\n\n\n\u003cp>In the wake of the \u003cem>pachucos\u003c/em>, Richie Valens emerged in the ’50s with, as one interviewee notes, “Different threads. Different beats. But he had the same swagger.” It’s fair to say that Luis Valdez got past his devastating childhood letdown the same way: through talent and swagger.\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003cem>‘American Pachuco: The Legend of Luis Valdez’ opens Friday, July 31, at the \u003ca href=\"https://roxie.com/film/american-pachuco-the-legend-of-luis-valdez/\">Roxie Theater\u003c/a> (3116 16th St., San Francisco). Following the 6:10 p.m. screening, Roberto Hernandez moderates a Q&A with Luis Valdez and filmmakers David Alvarado, Everett Katigbak and Lauren DeFilippo.\u003c/em>\u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Further Q&As with Alvarado take place on Saturday, Aug. 1 at the \u003ca href=\"https://rafaelfilm.cafilm.org/american-pachuco/\">Smith Rafael Film Center\u003c/a> in San Rafael; Saturday and Sunday, Aug. 1 and 2, at \u003ca href=\"https://rialtocinemas.com/now-playing-elm/american-pachuco-elm/\">Rialto Cinemas Elmwood\u003c/a> in Berkeley; and Sunday, Aug. 2, again at the Roxie\u003c/em>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s hard to pass one vibrant home in San Francisco’s \u003ca href=\"https://www.kqed.org/news/tag/mission-district\">Mission District\u003c/a> without a second look.\u003c/p>\n\u003cp>Richard Segovia’s house, or the “House of Latin Rock,” is coated with a colorful mural of Latin American performing artists like Carlos Santana, Maria Medina and Pete Escovedo.\u003c/p>\n\u003cp>Every inch of the home is detailed with portraits of historic musicians, rendered in saturated blue, green and orange hues.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Past the front door, Segovia’s living room and rehearsal space are lined with hundreds more photos, records and recognitions from the community: a collection representing decades of music history.\u003c/p>\n\u003cp>On Tuesday, San Francisco’s Board of Supervisors is gearing up to approve landmark status for the house, honoring Segovia’s home and its role in the neighborhood’s rich musical history.\u003c/p>\n\u003cp>The property “serves as a physical anchor for the Latin Rock musical movement,” said Supervisor Jackie Fielder, introducing the proposal at a planning committee meeting the day before. “For decades, this house has functioned as an active cultural hub, serving as a rehearsal space, recording studio and collaborative environment for local artists.”\u003c/p>\n\u003cfigure id=\"attachment_12089004\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12089004\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260407-LATINROCK-02-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260407-LATINROCK-02-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260407-LATINROCK-02-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260407-LATINROCK-02-BL-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Richard Segovia sits in his house on 25th and York streets, known as the Latin Rock House, in San Francisco on April 7, 2026. The home is covered in a large mural honoring dozens of musicians tied to the Mission District’s Latin rock scene, which Segovia has helped preserve for decades. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I have been to many jam sessions at this house, before I became supervisor,” added Supervisor Myrna Melgar, laughing.\u003c/p>\n\u003cp>Segovia said he was “ very honored and very happy” that his home is in the process of receiving the designation, which will protect it from being demolished or altered in the future without the city’s permission.\u003c/p>\n\u003cp>“ My family would be ecstatic,” Segovia said. He believes that, once anointed with landmark protection status, his house will reaffirm the Mission District “as alive and something that we can call our own.”\u003c/p>\n\u003cp>Segovia, who is 72, was born and raised in the Mission, where he continues to reside with his wife Tammy. He’s lived in the “House of Latin Rock” since he was 10, and it would be the third landmark in San Francisco that is also a private residence — along with the “Painted Ladies” in Alamo Square, and the \u003cem>Mrs. Doubtfire \u003c/em>House in the Pacific Heights neighborhood.[aside postID=news_12059299 hero='https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251002-DRCOLOR_00168_TV-KQED.jpg']The mural on his home is dedicated to a musical movement that he helped build, with distinctly San Franciscan roots: Latin rock.\u003c/p>\n\u003cp>Segovia describes Latin rock as a mixture of blues and Afro-Cuban rhythms and percussion. He credits its creation to a Mission-based band called The Aliens, which was formed in 1964. San Francisco’s psychedelic rock scene also heavily influenced the genre as it evolved during the 1960s.\u003c/p>\n\u003cp>Fielder sought the designation after visiting Segovia’s home to award him with a Certificate of Honor for his volunteer work supporting the development of student musicians within his home studio space.\u003c/p>\n\u003cp>“ She came upstairs, saw all the pictures,” Segovia said. “By the time she got to the music room, it was like, ‘Richard, we have to make this house a landmark.’ I said, ‘Let’s go for it.’”\u003c/p>\n\u003cp>\u003ca href=\"https://citypln-m-extnl.sfgov.org/Commissions/HPC/5_20_2026/Commission%20Packet/2026-002606DES.pdf\">In its proposal\u003c/a> to grant the designation, the city’s Historic Preservation Committee described Segovia’s house as “one of the Mission District’s most significant cultural and public art landmarks.”\u003c/p>\n\u003cp>The committee stressed the significance of the home to the musical movement that its mural honors, as well as its embodiment of the visual art tradition, “Mission Muralismo.”\u003c/p>\n\u003cp>“The mural reflects the tradition of using public art to document community history, honor cultural identity, and reclaim space through color and storytelling,” the committee said. “Like many landmark murals in the neighborhood, it incorporates portraiture, cultural symbolism, and expressive movement to celebrate local heroes and build a sense of shared memory.”\u003c/p>\n\u003cfigure id=\"attachment_12089005\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12089005\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260407-LATINROCK-04-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260407-LATINROCK-04-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260407-LATINROCK-04-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260407-LATINROCK-04-BL-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Richard Segovia points to notes musicians have left in his house on 25th and York streets, known as the Latin Rock House, in San Francisco on April 7, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In order for the designation to be approved, the Board of Supervisors will need to reach a unanimous vote in favor of the proposal. But a representative from Fielder’s office said the proposal had not received any opposition, only “wholehearted support” from the neighboring community.\u003c/p>\n\u003cp>The house’s mural was originally created in 2017 by a local youth program within the mural arts organization Precita Eyes, in collaboration with community muralists Max Marttila and Fred Alvarado.\u003c/p>\n\u003cp>Segovia said the mural continues to evolve under the care of the original muralists and other local artists. He has worked with them to update and restore the painting since then, and he estimated that around 200 performers are currently depicted on the mural.\u003c/p>\n\u003cp>But the “House of Latin Rock” has been a home for music long before the iconic mural graced its exterior. Segovia recalled how, as a teenager, he would open up his garage to play music for the neighborhood when his parents were gone for the day.\u003c/p>\n\u003cfigure id=\"attachment_12089006\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12089006\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260626-LATINROCK-01-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260626-LATINROCK-01-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260626-LATINROCK-01-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260626-LATINROCK-01-BL-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Latin Rock House, owned by musician Richard Segovia, in San Francisco’s Mission District on June 26, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Back in the day, garages were filled with music,” Segovia said. After Santana’s 1969 performance at Woodstock, “the whole Mission District went from the battle of the barrios to the battle of the bands.”\u003c/p>\n\u003cp>But his homebrew performances stopped abruptly one day, when his parents came home early.\u003c/p>\n\u003cp>“Boy, was I in trouble,” he said. “But then that’s when I knew that music was gonna be my life, you know?”\u003c/p>\n\u003cp>As the young Segovia grew into a professional music career, his home gradually turned into a creative hub for professional musicians across different genres. Like the Mission, he said, the house is alive — with a way of constantly bringing new faces through its doors.\u003c/p>\n\u003cp>“It operates on its own,” Segovia said. “People are drawn to it now because of the years of dedication and music that I gave my whole life to.”\u003c/p>\n\u003cp>\u003cem>KQED’s \u003ca href=\"https://www.kqed.org/author/emanoukian\">Elize Manoukian\u003c/a> contributed to this report. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "On Tuesday, San Francisco officials vote to decide whether the residence will join the Painted Ladies and the Mrs. Doubtfire House in receiving protected landmark status.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s hard to pass one vibrant home in San Francisco’s \u003ca href=\"https://www.kqed.org/news/tag/mission-district\">Mission District\u003c/a> without a second look.\u003c/p>\n\u003cp>Richard Segovia’s house, or the “House of Latin Rock,” is coated with a colorful mural of Latin American performing artists like Carlos Santana, Maria Medina and Pete Escovedo.\u003c/p>\n\u003cp>Every inch of the home is detailed with portraits of historic musicians, rendered in saturated blue, green and orange hues.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Past the front door, Segovia’s living room and rehearsal space are lined with hundreds more photos, records and recognitions from the community: a collection representing decades of music history.\u003c/p>\n\u003cp>On Tuesday, San Francisco’s Board of Supervisors is gearing up to approve landmark status for the house, honoring Segovia’s home and its role in the neighborhood’s rich musical history.\u003c/p>\n\u003cp>The property “serves as a physical anchor for the Latin Rock musical movement,” said Supervisor Jackie Fielder, introducing the proposal at a planning committee meeting the day before. “For decades, this house has functioned as an active cultural hub, serving as a rehearsal space, recording studio and collaborative environment for local artists.”\u003c/p>\n\u003cfigure id=\"attachment_12089004\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12089004\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260407-LATINROCK-02-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260407-LATINROCK-02-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260407-LATINROCK-02-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260407-LATINROCK-02-BL-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Richard Segovia sits in his house on 25th and York streets, known as the Latin Rock House, in San Francisco on April 7, 2026. The home is covered in a large mural honoring dozens of musicians tied to the Mission District’s Latin rock scene, which Segovia has helped preserve for decades. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I have been to many jam sessions at this house, before I became supervisor,” added Supervisor Myrna Melgar, laughing.\u003c/p>\n\u003cp>Segovia said he was “ very honored and very happy” that his home is in the process of receiving the designation, which will protect it from being demolished or altered in the future without the city’s permission.\u003c/p>\n\u003cp>“ My family would be ecstatic,” Segovia said. He believes that, once anointed with landmark protection status, his house will reaffirm the Mission District “as alive and something that we can call our own.”\u003c/p>\n\u003cp>Segovia, who is 72, was born and raised in the Mission, where he continues to reside with his wife Tammy. He’s lived in the “House of Latin Rock” since he was 10, and it would be the third landmark in San Francisco that is also a private residence — along with the “Painted Ladies” in Alamo Square, and the \u003cem>Mrs. Doubtfire \u003c/em>House in the Pacific Heights neighborhood.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The mural on his home is dedicated to a musical movement that he helped build, with distinctly San Franciscan roots: Latin rock.\u003c/p>\n\u003cp>Segovia describes Latin rock as a mixture of blues and Afro-Cuban rhythms and percussion. He credits its creation to a Mission-based band called The Aliens, which was formed in 1964. San Francisco’s psychedelic rock scene also heavily influenced the genre as it evolved during the 1960s.\u003c/p>\n\u003cp>Fielder sought the designation after visiting Segovia’s home to award him with a Certificate of Honor for his volunteer work supporting the development of student musicians within his home studio space.\u003c/p>\n\u003cp>“ She came upstairs, saw all the pictures,” Segovia said. “By the time she got to the music room, it was like, ‘Richard, we have to make this house a landmark.’ I said, ‘Let’s go for it.’”\u003c/p>\n\u003cp>\u003ca href=\"https://citypln-m-extnl.sfgov.org/Commissions/HPC/5_20_2026/Commission%20Packet/2026-002606DES.pdf\">In its proposal\u003c/a> to grant the designation, the city’s Historic Preservation Committee described Segovia’s house as “one of the Mission District’s most significant cultural and public art landmarks.”\u003c/p>\n\u003cp>The committee stressed the significance of the home to the musical movement that its mural honors, as well as its embodiment of the visual art tradition, “Mission Muralismo.”\u003c/p>\n\u003cp>“The mural reflects the tradition of using public art to document community history, honor cultural identity, and reclaim space through color and storytelling,” the committee said. “Like many landmark murals in the neighborhood, it incorporates portraiture, cultural symbolism, and expressive movement to celebrate local heroes and build a sense of shared memory.”\u003c/p>\n\u003cfigure id=\"attachment_12089005\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12089005\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260407-LATINROCK-04-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260407-LATINROCK-04-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260407-LATINROCK-04-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260407-LATINROCK-04-BL-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Richard Segovia points to notes musicians have left in his house on 25th and York streets, known as the Latin Rock House, in San Francisco on April 7, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In order for the designation to be approved, the Board of Supervisors will need to reach a unanimous vote in favor of the proposal. But a representative from Fielder’s office said the proposal had not received any opposition, only “wholehearted support” from the neighboring community.\u003c/p>\n\u003cp>The house’s mural was originally created in 2017 by a local youth program within the mural arts organization Precita Eyes, in collaboration with community muralists Max Marttila and Fred Alvarado.\u003c/p>\n\u003cp>Segovia said the mural continues to evolve under the care of the original muralists and other local artists. He has worked with them to update and restore the painting since then, and he estimated that around 200 performers are currently depicted on the mural.\u003c/p>\n\u003cp>But the “House of Latin Rock” has been a home for music long before the iconic mural graced its exterior. Segovia recalled how, as a teenager, he would open up his garage to play music for the neighborhood when his parents were gone for the day.\u003c/p>\n\u003cfigure id=\"attachment_12089006\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12089006\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260626-LATINROCK-01-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260626-LATINROCK-01-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260626-LATINROCK-01-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260626-LATINROCK-01-BL-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Latin Rock House, owned by musician Richard Segovia, in San Francisco’s Mission District on June 26, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Back in the day, garages were filled with music,” Segovia said. After Santana’s 1969 performance at Woodstock, “the whole Mission District went from the battle of the barrios to the battle of the bands.”\u003c/p>\n\u003cp>But his homebrew performances stopped abruptly one day, when his parents came home early.\u003c/p>\n\u003cp>“Boy, was I in trouble,” he said. “But then that’s when I knew that music was gonna be my life, you know?”\u003c/p>\n\u003cp>As the young Segovia grew into a professional music career, his home gradually turned into a creative hub for professional musicians across different genres. Like the Mission, he said, the house is alive — with a way of constantly bringing new faces through its doors.\u003c/p>\n\u003cp>“It operates on its own,” Segovia said. “People are drawn to it now because of the years of dedication and music that I gave my whole life to.”\u003c/p>\n\u003cp>\u003cem>KQED’s \u003ca href=\"https://www.kqed.org/author/emanoukian\">Elize Manoukian\u003c/a> contributed to this report. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "this-oakland-based-fashion-designer-tells-her-story-through-reclaimed-fabrics",
"title": "This Oakland-Based Fashion Designer Tells Her Story Through Reclaimed Fabrics",
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"headTitle": "This Oakland-Based Fashion Designer Tells Her Story Through Reclaimed Fabrics | KQED",
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"content": "\u003cp>\u003cem>This story was reported for K Onda KQED, a monthly newsletter focused on the Bay Area’s Latinx community. \u003c/em>\u003ca href=\"https://www.kqed.org/newsletters/k-onda\">\u003cem>Click here to subscribe.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>Tracy Garcia had just graduated from the Fashion Institute of Technology in New York when the \u003ca href=\"https://www.kqed.org/news/tag/covid-19\">pandemic\u003c/a> took hold in 2020. Unemployed and with a lot of time on her hands, she started posting sewing tutorials online.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.kqed.org/news/tag/oakland\">Oakland\u003c/a>-based designer’s social media accounts, dubbed Transformations by Tracy, have since amassed a huge following, along with her “Thriftflip Thursday” videos in which she repurposes items like a wedding dress, tablecloth or thrift store bargains into chic dresses.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/transformationsbytracy/reel/DWW_hC8gZ6Y/\">In one video\u003c/a>, the 28-year-old takes a drapey, fuchsia-colored women’s blouse and transforms it into a sleek, fitted cocktail dress.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“And of course we’re going dancing in this, so let’s go,” she said in the video before it cuts to footage of her grooving to bachata at a club.\u003c/p>\n\u003cp>Her goal, Garcia said, is to teach people to make clothes so that they can appreciate all the work and artistry that goes into a garment.\u003c/p>\n\u003cp>“There’s just so much clothing in the world, and I really feel like we don’t need to make any more material,” Garcia said. In her eyes, upcycling “is just seeing the potential within a garment and creating something completely new.”\u003c/p>\n\u003cfigure id=\"attachment_12090679\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12090679\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260710_KONDALATINAFASHIONUPCYCLER_GC-19-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260710_KONDALATINAFASHIONUPCYCLER_GC-19-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260710_KONDALATINAFASHIONUPCYCLER_GC-19-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260710_KONDALATINAFASHIONUPCYCLER_GC-19-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tracy Garcia, fashion designer and influencer, looks through some of her handmade pieces from her personal collection at her studio in Oakland on July 10, 2026. \u003ccite>(Gina Castro for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Garcia’s ability to not just reuse an item, but turn it into a work of art, reminded me of the Mexican and Chicano tradition of rasquache, a practice rooted in resourcefulness, creativity and reuse of materials.\u003c/p>\n\u003cp>Rasquachismo stems from the idea of not letting anything useful go to waste, said Aída Hurtado, a professor of Chicano and Chicana Studies at UC Santa Barbara and co-author of \u003cem>meXicana Fashions: Politics, Self-Adornment, and Identity Construction.\u003c/em>\u003c/p>\n\u003cp>Many Latine designers are looking to fashion for cultural expression and to promote practices that benefit the environment, a long-held tradition, Hurtado said. Latinos have been known for reusing everything from margarine containers to clothing to broken items, all of which can be repaired or reassembled into something else.[aside postID=news_12087163 hero='https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260611-KONDAWORLDCUP00428_TV-KQED.jpg']I witnessed this growing up with my mother, who sews, and my father, who knew carpentry. There is still a bench sitting outside my parents’ house that my dad fashioned out of a discarded diving board.\u003c/p>\n\u003cp>Hurtado said that in Latine communities, “you have to make everything extend because you don’t have a lot of money and you also live in a collective, collaborative kind of community where whatever else you have, you give to other people.”\u003c/p>\n\u003cp>“It’s more common among people that are working class or are poor, both in the U.S. and in Mexico.”\u003c/p>\n\u003cp>Rasquache, born out of necessity and struggle, now confronts a world where regular items are cheap and disposable and fast fashion clothes are filling up landfills — a particular concern for Garcia.\u003c/p>\n\u003cp>I asked Hurtado if Latinos are beginning to lose our Rasquachismo as it becomes easier and cheaper to access various goods.\u003c/p>\n\u003cp>Hurtado responded that cultural practices are not always transmitted linearly from one generation, and younger generations can choose to carry on those practices.\u003c/p>\n\u003cfigure id=\"attachment_12090678\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12090678\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260710_KONDALATINAFASHIONUPCYCLER_GC-17-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260710_KONDALATINAFASHIONUPCYCLER_GC-17-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260710_KONDALATINAFASHIONUPCYCLER_GC-17-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260710_KONDALATINAFASHIONUPCYCLER_GC-17-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tracy Garcia, fashion designer and influencer, sews a piece of fabric at her studio in Oakland on July 10, 2026. \u003ccite>(Gina Castro for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Garcia, for example, is making a conscious choice to reject fast fashion and promote sustainability.\u003c/p>\n\u003cp>“You may not loop back all the way to the origins of these practices,” Hurtado said. “But you end up modifying those practices and keeping some of the essence of them.”\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>Garcia, whose parents immigrated from Oaxaca, Mexico, grew up in Paso Robles. From the time that she was in kindergarten, she knew she wanted to be a clothing designer.\u003c/p>\n\u003cp>Garcia’s love of thrifting came from “just not having money,” she said. “Growing up, we would go to charity shops and get secondhand clothing, or I’d get a lot of hand-me-downs from my sister or my mom or family.”\u003c/p>\n\u003cp>She learned to sew in high school so she could apply to a fashion program for college, and made her dress for senior prom. At FIT, she specialized in intimate apparel and learned how to make garments by hand, use natural dyes and make use of what’s known as dead stock — excess fabric left over from clothing factories.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kwmdENkEvJg\u003c/p>\n\u003cp>Part of her graduation from FIT was supposed to entail a final fashion show, attended by potential employers. The event was canceled because of COVID-19.\u003c/p>\n\u003cp>She had imagined trying to get a job out of college as an entry-level designer for a fashion brand, but those opportunities dissipated during the pandemic.\u003c/p>\n\u003cp>That led her to social media and upcycling.\u003c/p>\n\u003cp>“When I first started out my business, my intention was to upcycle and sell pieces. But I was doing that, and I was pricing things very affordably,” she said. “So I was underpaying myself. It just wasn’t a sustainable business model.”\u003c/p>\n\u003cp>She mostly makes dresses for herself as opposed to making them for customers, because dresses seem to offer the biggest wow factor.\u003c/p>\n\u003cfigure id=\"attachment_12090676\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12090676\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260710_KONDALATINAFASHIONUPCYCLER_GC-1-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260710_KONDALATINAFASHIONUPCYCLER_GC-1-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260710_KONDALATINAFASHIONUPCYCLER_GC-1-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260710_KONDALATINAFASHIONUPCYCLER_GC-1-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tracy Garcia’s work station in Oakland on July 10, 2026. Tracy Garcia is a fashion designer and influencer whose YouTube channel “Transformations by Tracy” has amassed over 300,000 subscribers. \u003ccite>(Gina Castro for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, she said her business brings in six figures from ad revenue, sponsorship deals and sales of digital sewing patterns through Etsy. That is more than double what she might be earning as a low-level designer at a major fashion brand.\u003c/p>\n\u003cp>“I’m really happy with the way things turned out, because if that never happened, I wouldn’t be where I am today,” she said. “It pushed me to start my own business.”\u003c/p>\n\u003cp>After Garcia and her fiancé moved to the Bay Area in late 2024, she set up her studio in the second bedroom of their apartment.[aside postID=arts_13991309 hero='https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/Christian-Vela-soundcheck-5.jpg']Her creative process starts with finding reclaimed fabrics, usually at thrift stores like Savers in Alameda, one of her local favorites.\u003c/p>\n\u003cp>On a recent visit to her studio, she showed me some of her favorite pieces, including a two-toned light and medium blue halter beach dress, a sleeveless number from a beaded shirt she found in Europe, a cocktail dress made from Mexican National Team soccer jerseys and an off-white lace gown with a Mandarin collar that she plans to wear for her engagement photo shoot.\u003c/p>\n\u003cp>“I never look at the item itself,” Garcia said. “I always look at that fabric if I like the print, if I like the fiber.\u003c/p>\n\u003cp>“I’m always drawn to floral prints, bright colors. And, if I’m looking at fiber, I’m drawn to silks, crochet textures, anything that’s really soft and romantic. And then, I kind of just go from there.”\u003c/p>\n\u003cp>She often comes up with a specific design once she’s done cutting up the source material. She drapes it over a mannequin — and the ideas start to percolate.\u003c/p>\n\u003cp>Garcia shares this creative process with her social media followers, which, between \u003ca href=\"https://www.instagram.com/transformationsbytracy/\">Instagram \u003c/a>and \u003ca href=\"http://www.youtube.com/transformationsbytracy\">YouTube\u003c/a>\u003cu>,\u003c/u> total more than 1 million.\u003c/p>\n\u003cp>“I love reading the comments that people leave saying, ‘I started sewing because of you,’” she said. “I feel so good being able to show people the potential there is in what a lot of others see as waste.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story was reported for K Onda KQED, a monthly newsletter focused on the Bay Area’s Latinx community. \u003c/em>\u003ca href=\"https://www.kqed.org/newsletters/k-onda\">\u003cem>Click here to subscribe.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>Tracy Garcia had just graduated from the Fashion Institute of Technology in New York when the \u003ca href=\"https://www.kqed.org/news/tag/covid-19\">pandemic\u003c/a> took hold in 2020. Unemployed and with a lot of time on her hands, she started posting sewing tutorials online.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.kqed.org/news/tag/oakland\">Oakland\u003c/a>-based designer’s social media accounts, dubbed Transformations by Tracy, have since amassed a huge following, along with her “Thriftflip Thursday” videos in which she repurposes items like a wedding dress, tablecloth or thrift store bargains into chic dresses.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/transformationsbytracy/reel/DWW_hC8gZ6Y/\">In one video\u003c/a>, the 28-year-old takes a drapey, fuchsia-colored women’s blouse and transforms it into a sleek, fitted cocktail dress.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“And of course we’re going dancing in this, so let’s go,” she said in the video before it cuts to footage of her grooving to bachata at a club.\u003c/p>\n\u003cp>Her goal, Garcia said, is to teach people to make clothes so that they can appreciate all the work and artistry that goes into a garment.\u003c/p>\n\u003cp>“There’s just so much clothing in the world, and I really feel like we don’t need to make any more material,” Garcia said. In her eyes, upcycling “is just seeing the potential within a garment and creating something completely new.”\u003c/p>\n\u003cfigure id=\"attachment_12090679\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12090679\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260710_KONDALATINAFASHIONUPCYCLER_GC-19-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260710_KONDALATINAFASHIONUPCYCLER_GC-19-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260710_KONDALATINAFASHIONUPCYCLER_GC-19-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260710_KONDALATINAFASHIONUPCYCLER_GC-19-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tracy Garcia, fashion designer and influencer, looks through some of her handmade pieces from her personal collection at her studio in Oakland on July 10, 2026. \u003ccite>(Gina Castro for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Garcia’s ability to not just reuse an item, but turn it into a work of art, reminded me of the Mexican and Chicano tradition of rasquache, a practice rooted in resourcefulness, creativity and reuse of materials.\u003c/p>\n\u003cp>Rasquachismo stems from the idea of not letting anything useful go to waste, said Aída Hurtado, a professor of Chicano and Chicana Studies at UC Santa Barbara and co-author of \u003cem>meXicana Fashions: Politics, Self-Adornment, and Identity Construction.\u003c/em>\u003c/p>\n\u003cp>Many Latine designers are looking to fashion for cultural expression and to promote practices that benefit the environment, a long-held tradition, Hurtado said. Latinos have been known for reusing everything from margarine containers to clothing to broken items, all of which can be repaired or reassembled into something else.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I witnessed this growing up with my mother, who sews, and my father, who knew carpentry. There is still a bench sitting outside my parents’ house that my dad fashioned out of a discarded diving board.\u003c/p>\n\u003cp>Hurtado said that in Latine communities, “you have to make everything extend because you don’t have a lot of money and you also live in a collective, collaborative kind of community where whatever else you have, you give to other people.”\u003c/p>\n\u003cp>“It’s more common among people that are working class or are poor, both in the U.S. and in Mexico.”\u003c/p>\n\u003cp>Rasquache, born out of necessity and struggle, now confronts a world where regular items are cheap and disposable and fast fashion clothes are filling up landfills — a particular concern for Garcia.\u003c/p>\n\u003cp>I asked Hurtado if Latinos are beginning to lose our Rasquachismo as it becomes easier and cheaper to access various goods.\u003c/p>\n\u003cp>Hurtado responded that cultural practices are not always transmitted linearly from one generation, and younger generations can choose to carry on those practices.\u003c/p>\n\u003cfigure id=\"attachment_12090678\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12090678\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260710_KONDALATINAFASHIONUPCYCLER_GC-17-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260710_KONDALATINAFASHIONUPCYCLER_GC-17-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260710_KONDALATINAFASHIONUPCYCLER_GC-17-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260710_KONDALATINAFASHIONUPCYCLER_GC-17-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tracy Garcia, fashion designer and influencer, sews a piece of fabric at her studio in Oakland on July 10, 2026. \u003ccite>(Gina Castro for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Garcia, for example, is making a conscious choice to reject fast fashion and promote sustainability.\u003c/p>\n\u003cp>“You may not loop back all the way to the origins of these practices,” Hurtado said. “But you end up modifying those practices and keeping some of the essence of them.”\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>Garcia, whose parents immigrated from Oaxaca, Mexico, grew up in Paso Robles. From the time that she was in kindergarten, she knew she wanted to be a clothing designer.\u003c/p>\n\u003cp>Garcia’s love of thrifting came from “just not having money,” she said. “Growing up, we would go to charity shops and get secondhand clothing, or I’d get a lot of hand-me-downs from my sister or my mom or family.”\u003c/p>\n\u003cp>She learned to sew in high school so she could apply to a fashion program for college, and made her dress for senior prom. At FIT, she specialized in intimate apparel and learned how to make garments by hand, use natural dyes and make use of what’s known as dead stock — excess fabric left over from clothing factories.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/kwmdENkEvJg'\n title='//www.youtube.com/embed/kwmdENkEvJg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Part of her graduation from FIT was supposed to entail a final fashion show, attended by potential employers. The event was canceled because of COVID-19.\u003c/p>\n\u003cp>She had imagined trying to get a job out of college as an entry-level designer for a fashion brand, but those opportunities dissipated during the pandemic.\u003c/p>\n\u003cp>That led her to social media and upcycling.\u003c/p>\n\u003cp>“When I first started out my business, my intention was to upcycle and sell pieces. But I was doing that, and I was pricing things very affordably,” she said. “So I was underpaying myself. It just wasn’t a sustainable business model.”\u003c/p>\n\u003cp>She mostly makes dresses for herself as opposed to making them for customers, because dresses seem to offer the biggest wow factor.\u003c/p>\n\u003cfigure id=\"attachment_12090676\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12090676\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260710_KONDALATINAFASHIONUPCYCLER_GC-1-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260710_KONDALATINAFASHIONUPCYCLER_GC-1-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260710_KONDALATINAFASHIONUPCYCLER_GC-1-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260710_KONDALATINAFASHIONUPCYCLER_GC-1-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tracy Garcia’s work station in Oakland on July 10, 2026. Tracy Garcia is a fashion designer and influencer whose YouTube channel “Transformations by Tracy” has amassed over 300,000 subscribers. \u003ccite>(Gina Castro for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, she said her business brings in six figures from ad revenue, sponsorship deals and sales of digital sewing patterns through Etsy. That is more than double what she might be earning as a low-level designer at a major fashion brand.\u003c/p>\n\u003cp>“I’m really happy with the way things turned out, because if that never happened, I wouldn’t be where I am today,” she said. “It pushed me to start my own business.”\u003c/p>\n\u003cp>After Garcia and her fiancé moved to the Bay Area in late 2024, she set up her studio in the second bedroom of their apartment.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Her creative process starts with finding reclaimed fabrics, usually at thrift stores like Savers in Alameda, one of her local favorites.\u003c/p>\n\u003cp>On a recent visit to her studio, she showed me some of her favorite pieces, including a two-toned light and medium blue halter beach dress, a sleeveless number from a beaded shirt she found in Europe, a cocktail dress made from Mexican National Team soccer jerseys and an off-white lace gown with a Mandarin collar that she plans to wear for her engagement photo shoot.\u003c/p>\n\u003cp>“I never look at the item itself,” Garcia said. “I always look at that fabric if I like the print, if I like the fiber.\u003c/p>\n\u003cp>“I’m always drawn to floral prints, bright colors. And, if I’m looking at fiber, I’m drawn to silks, crochet textures, anything that’s really soft and romantic. And then, I kind of just go from there.”\u003c/p>\n\u003cp>She often comes up with a specific design once she’s done cutting up the source material. She drapes it over a mannequin — and the ideas start to percolate.\u003c/p>\n\u003cp>Garcia shares this creative process with her social media followers, which, between \u003ca href=\"https://www.instagram.com/transformationsbytracy/\">Instagram \u003c/a>and \u003ca href=\"http://www.youtube.com/transformationsbytracy\">YouTube\u003c/a>\u003cu>,\u003c/u> total more than 1 million.\u003c/p>\n\u003cp>“I love reading the comments that people leave saying, ‘I started sewing because of you,’” she said. “I feel so good being able to show people the potential there is in what a lot of others see as waste.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Remember Your Mom’s ‘Tanda’? Young Latinos Are Giving It a Tech-Savvy Twist",
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"content": "\u003cp>\u003cem>This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/affordability\">\u003cem>How We Get By\u003c/em>\u003c/a>\u003cem>, a KQED series exploring how people are coping with rising costs in the Bay Area and California. Find the \u003c/em>\u003ca href=\"https://www.kqed.org/affordability\">\u003cem>full series here\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>In the span of four months, Juan Carrillo’s life got flipped around. He lost two family members in January: a brother and a nephew.\u003c/p>\n\u003cp>On top of his grief, the 49-year-old Fresno resident and his family were staring down funeral bills, each costing more than $10,000.\u003c/p>\n\u003cp>“Everything has done a complete 360-degree turn; you just don’t see it coming, and you don’t even know where else to find the money to make your regular payments,” Carrillo said in Spanish. “In one way or another, we had to help our families.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As a result of the unexpected expenses, he fell behind on rent and utility payments, even though he was working three jobs — as a DJ, an Uber driver and as a construction worker.\u003c/p>\n\u003cp>But Carrillo got a boon at just the right time: in January, he received $900 in his bank account, which helped his family cover some of the funeral expenses. That was thanks to his tanda, a community-based lending circle, in which members contribute small amounts of money regularly — in his case, $150 each month — and take turns receiving a lump-sum payout.\u003c/p>\n\u003cp>“That’s how we help each other,” Carrillo said.\u003c/p>\n\u003cfigure id=\"attachment_12090543\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12090543\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260706-tandas-JY-08_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260706-tandas-JY-08_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260706-tandas-JY-08_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260706-tandas-JY-08_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Juan Carrillo stands for a portrait at his home in Fresno, California, on Monday, July 6, 2026. Carrillo joined a tanda, a lending circle widely used in Latin America, and was able to contribute to funeral expenses for two of his family members because of it. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A tanda is a centuries-old financial system widely used across Latin America that functions as a community-based savings-and-lending circle. The system relies on trust among its members — usually small groups of six to 10 — and has historically operated in cash, similar to an interest-free savings plan or an informal loan.\u003c/p>\n\u003cp>Today, however, tandas are becoming more modernized, with apps and other tech tools drawing in younger generations of Latinos. And as California’s cost of living continues to increase, more people are turning to tandas as a way to get out of a tight spot, to save money and build credit.\u003c/p>\n\u003cp>“It is very expensive to live in these areas,” said Mariel Hernandez, a spokesperson for Bay Area nonprofit \u003ca href=\"https://www.missionassetfund.org/\">Mission Asset Fund\u003c/a>. “California’s affordability crisis has made predatory lending more dangerous and more tempting at the same time.”\u003c/p>\n\u003cp>Her organization partnered with the \u003ca href=\"https://www.elfus.org/\">Education and Leadership Foundation\u003c/a>, based in Fresno, more than three years ago to expand access to these traditional lending circles.\u003c/p>\n\u003cfigure id=\"attachment_12090555\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12090555\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260706-tandas-JY-11_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260706-tandas-JY-11_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260706-tandas-JY-11_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260706-tandas-JY-11_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Juan Carrillo displays his delivery driver badge in Fresno, California, on Monday, July 6, 2026. Carrillo joined a tanda, a lending circle widely used in Latin America, and was able to buy new tires for his car with a loan from the tanda. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Both nonprofits use the model as a way to help communities build savings and access small, no-interest loans through structured, community-based programs.\u003c/p>\n\u003cp>But Raúl Hinojosa-Ojeda, a professor of Chicano studies at the University of California, Los Angeles, said the origins of tandas go back centuries.\u003c/p>\n\u003cp>“They’re not new,” Hinojosa-Ojeda said. “There’s multi-thousand-year-old roots of communal labor in Mexico, there’s 1,000-year-old roots in Asia of communal work and communal savings and lending.”\u003c/p>\n\u003cp>Hinojosa-Ojeda said tandas made their way to California in the 19th century, when immigrants from China and Mexico brought the collective savings practices to the state.\u003c/p>\n\u003cfigure id=\"attachment_12090556\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12090556\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260706-tandas-JY-15_qed.jpg\" alt=\"\" width=\"1999\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260706-tandas-JY-15_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260706-tandas-JY-15_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260706-tandas-JY-15_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">A new tire on delivery driver Juan Carrillo’s car in Fresno, California, on Monday, July 6, 2026. Carrillo joined a tanda, a lending circle widely used in Latin America, and was able to buy new tires for his car with a loan from the tanda. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Traditionally, participants knew each other; they were family members, neighbors, friends, and coworkers. Trust is essential within the tanda because a person is less likely to take the money and never return.\u003c/p>\n\u003cp>In the systems operated by the Education and Leadership Foundation and Mission Asset Fund, participants are strangers, and they no longer operate with cash. Instead, they use an app.\u003c/p>\n\u003cp>And the organizations are able to guarantee funding if a person drops out.\u003c/p>\n\u003cp>“The concept is very similar,” Hinojosa-Ojeda said. “People join, and then they agree to deposit money into a fund that’s controlled by a trusted body.”\u003c/p>\n\u003cfigure id=\"attachment_12090546\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12090546\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260706-tandas-JY-03_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260706-tandas-JY-03_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260706-tandas-JY-03_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260706-tandas-JY-03_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Community Engagement Coordinator Carmen Cardenas shows the “MyMAF” portal on her phone at the Education and Leadership Foundation office in Fresno, California, on Monday, July 6, 2026. MyMAF is a model by Mission Asset Fund that helps community members build their savings, credit, and access small loans. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hernandez said community members turn to tandas for any number of reasons, including household emergencies or securing a down payment for a home or for rent. She uses tandas herself and said she’s received $1,200 that helped cover the tuition costs of her master’s degree, as well as her Bay Area apartment.\u003c/p>\n\u003cp>“It can be for buying back-to-school supplies, sending money to family abroad, sometimes it’s even covering quinceañeras,” she said.\u003c/p>\n\u003cp>When 24-year-old David Medina was feeling the pressure of the holiday season late last year, he realized he didn’t have enough money to buy gifts for his family.[aside postID=news_12084761 hero='https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/IMG_1522.jpg']“And then I remembered, ‘Wait, I’m about to get my money from the tanda.’ That money can go straight into my Christmas shopping,” Medina said.\u003c/p>\n\u003cp>He had been paying $100 a month and received $1,000 just before the holidays. The timing helped turn a stressful situation into a manageable one.\u003c/p>\n\u003cp>“That money that I didn’t know I had put aside, I had it, and it worked perfectly,” he said.\u003c/p>\n\u003cp>With the extra cash, Medina was able to buy gifts: toys, new clothes, household items, and food. It helped his family enjoy a more comfortable Christmas.\u003c/p>\n\u003cp>Carmen Cardenas, the community engagement coordinator for Education and Leadership Foundation, joined a tanda to celebrate her 24th birthday.\u003c/p>\n\u003cp>“When I received the loan, I wasn’t wanting to go into credit card debt for my birthday celebration, so I saved the money that I got from the lending circle to put it towards that,” Cardenas said. “I was able to use that money and then keep paying it back as the lending circle went on.”\u003c/p>\n\u003cp>She makes it a priority to participate in tandas whenever the opportunity arises, viewing them as an important way to manage her finances.\u003c/p>\n\u003cfigure id=\"attachment_12090547\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12090547\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260706-tandas-JY-07_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260706-tandas-JY-07_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260706-tandas-JY-07_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260706-tandas-JY-07_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Community Engagement Coordinator Carmen Cardenas stands for a portrait at the Education and Leadership Foundation (ELF) office in Fresno, California, on Monday, July 6, 2026. Cardenas assists ELF community members with signing up for tandas, also known as lending circles, and has made use of them for her own expenses. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Through the Mission Asset Fund app — which is now available through partnerships in Illinois, Michigan, Minnesota, Mississippi, New York and Washington — Cardenas is instantly alerted whenever a scheduled payment is processed, allowing her to track when money has been automatically withdrawn from her bank account.\u003c/p>\n\u003cp>Meanwhile, Medina has grown to love tandas — not just because he can save money along the way, but also because he’s actively building and strengthening his credit score through the Mission Asset Fund’s app, too.\u003c/p>\n\u003cp>“After college, I didn’t really build my credit,” Medina said.\u003c/p>\n\u003cp>After receiving his last payout, he signed up for another tanda and is set to collect $750 later this year — again with the ability to track and access his payments instantly from his devices.\u003c/p>\n\u003cfigure id=\"attachment_12090548\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12090548\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260706-tandas-JY-19_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260706-tandas-JY-19_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260706-tandas-JY-19_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260706-tandas-JY-19_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Juan Carrillo prays at an altar honoring his brother and nephew in his home in Fresno, California, on Monday, July 6, 2026. Carrillo was able to contribute to funeral expenses for his brother and nephew after joining a tanda, a lending circle widely used in Latin America. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The ability to build credit scores also interested Carrillo, not for himself, but for his 18- and 20-year-old sons.\u003c/p>\n\u003cp>“In this country, you move forward with credit; without credit, you don’t,” Carrillo said. “Everything relies on credit.”\u003c/p>\n\u003cp>It’d be tempting to lean on credit to keep up with California’s rising costs, but Carrillo said the tandas have helped him manage it. And, when tragedy struck, the tanda was there with quick cash and zero debt.\u003c/p>\n\u003cp>“I thank God because it arrived at a time [of need],” he said.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/affordability\">\u003cem>How We Get By\u003c/em>\u003c/a>\u003cem>, a KQED series exploring how people are coping with rising costs in the Bay Area and California. Find the \u003c/em>\u003ca href=\"https://www.kqed.org/affordability\">\u003cem>full series here\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>In the span of four months, Juan Carrillo’s life got flipped around. He lost two family members in January: a brother and a nephew.\u003c/p>\n\u003cp>On top of his grief, the 49-year-old Fresno resident and his family were staring down funeral bills, each costing more than $10,000.\u003c/p>\n\u003cp>“Everything has done a complete 360-degree turn; you just don’t see it coming, and you don’t even know where else to find the money to make your regular payments,” Carrillo said in Spanish. “In one way or another, we had to help our families.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As a result of the unexpected expenses, he fell behind on rent and utility payments, even though he was working three jobs — as a DJ, an Uber driver and as a construction worker.\u003c/p>\n\u003cp>But Carrillo got a boon at just the right time: in January, he received $900 in his bank account, which helped his family cover some of the funeral expenses. That was thanks to his tanda, a community-based lending circle, in which members contribute small amounts of money regularly — in his case, $150 each month — and take turns receiving a lump-sum payout.\u003c/p>\n\u003cp>“That’s how we help each other,” Carrillo said.\u003c/p>\n\u003cfigure id=\"attachment_12090543\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12090543\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260706-tandas-JY-08_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260706-tandas-JY-08_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260706-tandas-JY-08_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260706-tandas-JY-08_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Juan Carrillo stands for a portrait at his home in Fresno, California, on Monday, July 6, 2026. Carrillo joined a tanda, a lending circle widely used in Latin America, and was able to contribute to funeral expenses for two of his family members because of it. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A tanda is a centuries-old financial system widely used across Latin America that functions as a community-based savings-and-lending circle. The system relies on trust among its members — usually small groups of six to 10 — and has historically operated in cash, similar to an interest-free savings plan or an informal loan.\u003c/p>\n\u003cp>Today, however, tandas are becoming more modernized, with apps and other tech tools drawing in younger generations of Latinos. And as California’s cost of living continues to increase, more people are turning to tandas as a way to get out of a tight spot, to save money and build credit.\u003c/p>\n\u003cp>“It is very expensive to live in these areas,” said Mariel Hernandez, a spokesperson for Bay Area nonprofit \u003ca href=\"https://www.missionassetfund.org/\">Mission Asset Fund\u003c/a>. “California’s affordability crisis has made predatory lending more dangerous and more tempting at the same time.”\u003c/p>\n\u003cp>Her organization partnered with the \u003ca href=\"https://www.elfus.org/\">Education and Leadership Foundation\u003c/a>, based in Fresno, more than three years ago to expand access to these traditional lending circles.\u003c/p>\n\u003cfigure id=\"attachment_12090555\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12090555\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260706-tandas-JY-11_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260706-tandas-JY-11_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260706-tandas-JY-11_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260706-tandas-JY-11_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Juan Carrillo displays his delivery driver badge in Fresno, California, on Monday, July 6, 2026. Carrillo joined a tanda, a lending circle widely used in Latin America, and was able to buy new tires for his car with a loan from the tanda. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Both nonprofits use the model as a way to help communities build savings and access small, no-interest loans through structured, community-based programs.\u003c/p>\n\u003cp>But Raúl Hinojosa-Ojeda, a professor of Chicano studies at the University of California, Los Angeles, said the origins of tandas go back centuries.\u003c/p>\n\u003cp>“They’re not new,” Hinojosa-Ojeda said. “There’s multi-thousand-year-old roots of communal labor in Mexico, there’s 1,000-year-old roots in Asia of communal work and communal savings and lending.”\u003c/p>\n\u003cp>Hinojosa-Ojeda said tandas made their way to California in the 19th century, when immigrants from China and Mexico brought the collective savings practices to the state.\u003c/p>\n\u003cfigure id=\"attachment_12090556\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12090556\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260706-tandas-JY-15_qed.jpg\" alt=\"\" width=\"1999\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260706-tandas-JY-15_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260706-tandas-JY-15_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260706-tandas-JY-15_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">A new tire on delivery driver Juan Carrillo’s car in Fresno, California, on Monday, July 6, 2026. Carrillo joined a tanda, a lending circle widely used in Latin America, and was able to buy new tires for his car with a loan from the tanda. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Traditionally, participants knew each other; they were family members, neighbors, friends, and coworkers. Trust is essential within the tanda because a person is less likely to take the money and never return.\u003c/p>\n\u003cp>In the systems operated by the Education and Leadership Foundation and Mission Asset Fund, participants are strangers, and they no longer operate with cash. Instead, they use an app.\u003c/p>\n\u003cp>And the organizations are able to guarantee funding if a person drops out.\u003c/p>\n\u003cp>“The concept is very similar,” Hinojosa-Ojeda said. “People join, and then they agree to deposit money into a fund that’s controlled by a trusted body.”\u003c/p>\n\u003cfigure id=\"attachment_12090546\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12090546\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260706-tandas-JY-03_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260706-tandas-JY-03_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260706-tandas-JY-03_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260706-tandas-JY-03_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Community Engagement Coordinator Carmen Cardenas shows the “MyMAF” portal on her phone at the Education and Leadership Foundation office in Fresno, California, on Monday, July 6, 2026. MyMAF is a model by Mission Asset Fund that helps community members build their savings, credit, and access small loans. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hernandez said community members turn to tandas for any number of reasons, including household emergencies or securing a down payment for a home or for rent. She uses tandas herself and said she’s received $1,200 that helped cover the tuition costs of her master’s degree, as well as her Bay Area apartment.\u003c/p>\n\u003cp>“It can be for buying back-to-school supplies, sending money to family abroad, sometimes it’s even covering quinceañeras,” she said.\u003c/p>\n\u003cp>When 24-year-old David Medina was feeling the pressure of the holiday season late last year, he realized he didn’t have enough money to buy gifts for his family.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“And then I remembered, ‘Wait, I’m about to get my money from the tanda.’ That money can go straight into my Christmas shopping,” Medina said.\u003c/p>\n\u003cp>He had been paying $100 a month and received $1,000 just before the holidays. The timing helped turn a stressful situation into a manageable one.\u003c/p>\n\u003cp>“That money that I didn’t know I had put aside, I had it, and it worked perfectly,” he said.\u003c/p>\n\u003cp>With the extra cash, Medina was able to buy gifts: toys, new clothes, household items, and food. It helped his family enjoy a more comfortable Christmas.\u003c/p>\n\u003cp>Carmen Cardenas, the community engagement coordinator for Education and Leadership Foundation, joined a tanda to celebrate her 24th birthday.\u003c/p>\n\u003cp>“When I received the loan, I wasn’t wanting to go into credit card debt for my birthday celebration, so I saved the money that I got from the lending circle to put it towards that,” Cardenas said. “I was able to use that money and then keep paying it back as the lending circle went on.”\u003c/p>\n\u003cp>She makes it a priority to participate in tandas whenever the opportunity arises, viewing them as an important way to manage her finances.\u003c/p>\n\u003cfigure id=\"attachment_12090547\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12090547\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260706-tandas-JY-07_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260706-tandas-JY-07_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260706-tandas-JY-07_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260706-tandas-JY-07_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Community Engagement Coordinator Carmen Cardenas stands for a portrait at the Education and Leadership Foundation (ELF) office in Fresno, California, on Monday, July 6, 2026. Cardenas assists ELF community members with signing up for tandas, also known as lending circles, and has made use of them for her own expenses. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Through the Mission Asset Fund app — which is now available through partnerships in Illinois, Michigan, Minnesota, Mississippi, New York and Washington — Cardenas is instantly alerted whenever a scheduled payment is processed, allowing her to track when money has been automatically withdrawn from her bank account.\u003c/p>\n\u003cp>Meanwhile, Medina has grown to love tandas — not just because he can save money along the way, but also because he’s actively building and strengthening his credit score through the Mission Asset Fund’s app, too.\u003c/p>\n\u003cp>“After college, I didn’t really build my credit,” Medina said.\u003c/p>\n\u003cp>After receiving his last payout, he signed up for another tanda and is set to collect $750 later this year — again with the ability to track and access his payments instantly from his devices.\u003c/p>\n\u003cfigure id=\"attachment_12090548\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12090548\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260706-tandas-JY-19_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260706-tandas-JY-19_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260706-tandas-JY-19_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/07/20260706-tandas-JY-19_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Juan Carrillo prays at an altar honoring his brother and nephew in his home in Fresno, California, on Monday, July 6, 2026. Carrillo was able to contribute to funeral expenses for his brother and nephew after joining a tanda, a lending circle widely used in Latin America. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The ability to build credit scores also interested Carrillo, not for himself, but for his 18- and 20-year-old sons.\u003c/p>\n\u003cp>“In this country, you move forward with credit; without credit, you don’t,” Carrillo said. “Everything relies on credit.”\u003c/p>\n\u003cp>It’d be tempting to lean on credit to keep up with California’s rising costs, but Carrillo said the tandas have helped him manage it. And, when tragedy struck, the tanda was there with quick cash and zero debt.\u003c/p>\n\u003cp>“I thank God because it arrived at a time [of need],” he said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "for-bay-area-latinos-world-cup-is-a-celebration-of-pride-and-identity",
"title": "For Bay Area Latinos, World Cup Is a Celebration of Pride and Identity",
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"headTitle": "For Bay Area Latinos, World Cup Is a Celebration of Pride and Identity | KQED",
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"content": "\u003cp>\u003cem>This story was reported for K Onda KQED, a monthly newsletter focused on the Bay Area’s Latinx community. \u003ca href=\"https://www.kqed.org/newsletters/k-onda\">Click here to subscribe\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>San Francisco resident Salvador Rodriguez started planning — and saving up — for this year’s \u003ca href=\"https://www.kqed.org/news/tag/world-cup\">World Cup\u003c/a> eight years ago when the United States, Mexico and Canada were named host nations.\u003c/p>\n\u003cp>The independent journalist publishes “\u003ca href=\"https://the2026dispatch.substack.com/\">The 2026 Dispatch\u003c/a>,” a Substack newsletter featuring reporting and personal reflections on the World Cup. He plans to attend at least a dozen matches, including the opener in Mexico City and the final in New York City, as well as matches in Atlanta, Seattle, Dallas and Philadelphia among other cities.\u003c/p>\n\u003cp>“I personally measure my life based on World Cups,” Rodriguez, 36, said. “If you bring up basically any World Cup and I could tell you where I was during it.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Latino fans have long been the backbone of soccer culture in the United States, and many are expected to help fuel interest in the 2026 World Cup as the tournament unfolds across North America.\u003c/p>\n\u003cp>Despite concerns about high ticket prices, immigration policies and the politics surrounding the event, fans across the Bay Area say the World Cup remains a powerful expression of cultural pride, family heritage and connection to countries they or their relatives still call home.\u003c/p>\n\u003cfigure id=\"attachment_12087320\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12087320\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260612-K-ONDA-LATINO-WORLD-CUP-STORY-01-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260612-K-ONDA-LATINO-WORLD-CUP-STORY-01-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260612-K-ONDA-LATINO-WORLD-CUP-STORY-01-KQED-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260612-K-ONDA-LATINO-WORLD-CUP-STORY-01-KQED-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Salvador Rodriguez, right, with his mother, Aida Rodriguez, outside of the Estadio Azteca in Mexico City. \u003ccite>(Courtesy of Salvador Rodriguez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rodriguez agrees that there is plenty to criticize about the World Cup, from \u003ca href=\"https://www.kqed.org/news/12086953/the-world-cup-has-arrived-in-the-san-francisco-bay-area-is-anyone-else-coming\">high ticket prices\u003c/a> and \u003ca href=\"https://www.nytimes.com/2026/05/27/nyregion/fifa-indictments-soccer-dismissed.html\">administrative corruption\u003c/a> to a lackluster lineup of matches slated for\u003ca href=\"https://www.kqed.org/news/12086949/levis-stadium-is-no-more-san-francisco-bay-area-stadium-hosts-world-cup\"> the Bay Area\u003c/a>. Still, he said, there is nothing like the World Cup, especially for fans from Latin America, where soccer reigns supreme and love of national teams is paramount.\u003c/p>\n\u003cp>“It’s very rare that the majority of the world comes together in a way where everyone can compete, but also have cultural exchanges,” Rodriguez said before departing for Mexico. “For the people who want to focus on that, they’re going to have an amazing time. And even if you don’t have a lot of money to spend, there’s so many great ways to partake.”\u003c/p>\n\u003cp>While Rodriguez attended the opening match in Mexico City, a few hundred people gathered Thursday at the Spark Social SF Food Truck Park in San Francisco’s Mission Bay to watch Mexico’s 2-0 win over South Africa.[aside postID=news_12086953 hero='https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/060926Paraguay-SJSU_GH_009.jpg']As soccer slowly gains traction among U.S. sports fans, Latine fans are driving much of the growth, thanks in part to the legacy of soccer fandom from Latin America.\u003c/p>\n\u003cp>“I love the World Cup. I think it’s so beautiful. I get really emotional during it,” said Cynthia Villamizar of San Francisco, who came to the food truck park with her husband and 7-week-old son.\u003c/p>\n\u003cp>“My dad is from Colombia. My mom’s from Ecuador, so both teams are represented. And my husband’s from India, who I don’t think is represented,” she continued. “But either way, the World Cup represents a beautiful, multicultural, global moment. And our baby is one of those global moments. So it’s a whole family thing.”\u003c/p>\n\u003cp>Latine fans make up much of the growth of soccer in the United States. A 2022 \u003ca href=\"https://www.prnewswire.com/news-releases/telemundo-rolls-out-the-future-is-futbol-a-comprehensive-report-on-the-state-of-soccer-the-fastest-growing-major-team-sport-in-america-301619868.html\">report\u003c/a> from NBCUniversal Telemundo Enterprises found that among U.S. Latinos ages 16 and older, 73% say they are soccer fans and 22% described themselves as “superfans” — more than triple the share of non-Hispanics who ascribe to that term.\u003c/p>\n\u003cp>“We definitely see the World Cup as a big opportunity,” said Javier Garcia, senior vice president of multicultural growth for cable and internet provider Comcast. “For multicultural consumers, it is very clear that it’s a huge opportunity. We see soccer as a sport that continues to grow in the United States. We know that is the future and that’s why we’re putting all the investment and efforts behind it.”\u003c/p>\n\u003cp>A sea of fans in green Mexico jerseys packed picnic tables in the lawn area at Spark SF under a bright midday sun. They sipped beers, noshed on plates from food trucks while keeping their eyes fixed on a giant TV broadcasting the match.\u003c/p>\n\u003cfigure id=\"attachment_12087343\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12087343\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260611-KONDAWORLDCUP00635_TV-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260611-KONDAWORLDCUP00635_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260611-KONDAWORLDCUP00635_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260611-KONDAWORLDCUP00635_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Fans express disbelief while watching the Mexico vs. South Africa World Cup game at a watch party at SPARK Social SF in San Francisco on June 11, 2026. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The World Cup is such a moment for our cultures to shine on a global stage, for people to just celebrate where they’re from, whether they were born there or not,” Villamizar said. “Especially for American-born Latinos, it’s a way to represent for a country that their family celebrates.”\u003c/p>\n\u003cp>Luis Pablo Michel, a 27-year-old from San José, said U.S. hostility toward immigrants and foreign visitors – including World Cup players – along with high ticket prices, is putting a damper on this year’s celebration.\u003c/p>\n\u003cp>“I’m not paying $200 to watch only from the top,” he said. “It’s like the first time you get excited about the World Cup, and it’s like you’re outmatched, you’re outpriced, and it’s kind of a sad thing.”\u003c/p>\n\u003cfigure id=\"attachment_12087328\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12087328\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260611-KONDAWORLDCUP00033_TV-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260611-KONDAWORLDCUP00033_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260611-KONDAWORLDCUP00033_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260611-KONDAWORLDCUP00033_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Luis Pablo Michel poses for a portrait at a Mexico vs. South Africa World Cup watch party at SPARK Social SF in San Francisco on June 11, 2026. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, he was excited to watch the opener with his girlfriend.\u003c/p>\n\u003cp>“I love soccer. I love Mexico,” he said. “What are you going to do, you know? It’s the World Cup. You’re going to watch it.”\u003c/p>\n\u003cp>Nataly and Aimee Rendon, two sisters from San Pablo, also came out to watch Mexico play.\u003c/p>\n\u003cfigure id=\"attachment_12087329\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12087329\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260611-KONDAWORLDCUP00048_TV-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260611-KONDAWORLDCUP00048_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260611-KONDAWORLDCUP00048_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260611-KONDAWORLDCUP00048_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sisters Aimee Rendon (left) and Natalie Rendon (right) pose for a portrait at a Mexico vs. South Africa World Cup watch party at SPARK Social SF in San Francisco on June 11, 2026. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m feeling excited, mostly excited,” said Nataly Rendon, 30. “I’m excited for everyone, all the cultures to visit different countries and just get to know other places of the world.”\u003c/p>\n\u003cp>At the same time, Aimee Rendon, 29, said it’s important to recognize other issues surrounding the festivities, like\u003ca href=\"https://www.npr.org/2026/06/08/nx-s1-5850429/as-mexico-hosts-the-world-cup-families-of-the-disappeared-keep-searching\"> families of missing people \u003c/a>protesting at games in Mexico or \u003ca href=\"http://theguardian.com/football/2026/jun/11/iran-world-cup-tijuana-security-camp-mexico\">the Iranian National Team\u003c/a> being barred from preparing in the United States.\u003c/p>\n\u003cp>As Mexican-Americans, they were also excited to cheer for their parents’ home country.\u003c/p>\n\u003cfigure id=\"attachment_12087339\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12087339\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260611-KONDAWORLDCUP00413_TV-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260611-KONDAWORLDCUP00413_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260611-KONDAWORLDCUP00413_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260611-KONDAWORLDCUP00413_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A handkerchief with a Mexico flag design rests on a picnic table at a Mexico vs. South Africa World Cup watch party at SPARK Social SF in San Francisco on June 11, 2026. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rooting for Mexico “feels natural,” Nataly Rendon said. “I feel like it’s más orgullo mexicano, definitely, 100%.”\u003c/p>\n\u003cp>Ana Guzman, 37, took the day off and drove from her home in Stockton with her daughter to San Francisco for “the vibe.”\u003c/p>\n\u003cp>“The World Cup really brings out something in us — our pride, our heritage, our culture,” Guzman, who is Mexican-American, said. “Every four years you will catch me watching the World Cup.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"title": "For Bay Area Latinos, World Cup Is a Celebration of Pride and Identity | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story was reported for K Onda KQED, a monthly newsletter focused on the Bay Area’s Latinx community. \u003ca href=\"https://www.kqed.org/newsletters/k-onda\">Click here to subscribe\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>San Francisco resident Salvador Rodriguez started planning — and saving up — for this year’s \u003ca href=\"https://www.kqed.org/news/tag/world-cup\">World Cup\u003c/a> eight years ago when the United States, Mexico and Canada were named host nations.\u003c/p>\n\u003cp>The independent journalist publishes “\u003ca href=\"https://the2026dispatch.substack.com/\">The 2026 Dispatch\u003c/a>,” a Substack newsletter featuring reporting and personal reflections on the World Cup. He plans to attend at least a dozen matches, including the opener in Mexico City and the final in New York City, as well as matches in Atlanta, Seattle, Dallas and Philadelphia among other cities.\u003c/p>\n\u003cp>“I personally measure my life based on World Cups,” Rodriguez, 36, said. “If you bring up basically any World Cup and I could tell you where I was during it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Latino fans have long been the backbone of soccer culture in the United States, and many are expected to help fuel interest in the 2026 World Cup as the tournament unfolds across North America.\u003c/p>\n\u003cp>Despite concerns about high ticket prices, immigration policies and the politics surrounding the event, fans across the Bay Area say the World Cup remains a powerful expression of cultural pride, family heritage and connection to countries they or their relatives still call home.\u003c/p>\n\u003cfigure id=\"attachment_12087320\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12087320\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260612-K-ONDA-LATINO-WORLD-CUP-STORY-01-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260612-K-ONDA-LATINO-WORLD-CUP-STORY-01-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260612-K-ONDA-LATINO-WORLD-CUP-STORY-01-KQED-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260612-K-ONDA-LATINO-WORLD-CUP-STORY-01-KQED-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Salvador Rodriguez, right, with his mother, Aida Rodriguez, outside of the Estadio Azteca in Mexico City. \u003ccite>(Courtesy of Salvador Rodriguez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rodriguez agrees that there is plenty to criticize about the World Cup, from \u003ca href=\"https://www.kqed.org/news/12086953/the-world-cup-has-arrived-in-the-san-francisco-bay-area-is-anyone-else-coming\">high ticket prices\u003c/a> and \u003ca href=\"https://www.nytimes.com/2026/05/27/nyregion/fifa-indictments-soccer-dismissed.html\">administrative corruption\u003c/a> to a lackluster lineup of matches slated for\u003ca href=\"https://www.kqed.org/news/12086949/levis-stadium-is-no-more-san-francisco-bay-area-stadium-hosts-world-cup\"> the Bay Area\u003c/a>. Still, he said, there is nothing like the World Cup, especially for fans from Latin America, where soccer reigns supreme and love of national teams is paramount.\u003c/p>\n\u003cp>“It’s very rare that the majority of the world comes together in a way where everyone can compete, but also have cultural exchanges,” Rodriguez said before departing for Mexico. “For the people who want to focus on that, they’re going to have an amazing time. And even if you don’t have a lot of money to spend, there’s so many great ways to partake.”\u003c/p>\n\u003cp>While Rodriguez attended the opening match in Mexico City, a few hundred people gathered Thursday at the Spark Social SF Food Truck Park in San Francisco’s Mission Bay to watch Mexico’s 2-0 win over South Africa.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As soccer slowly gains traction among U.S. sports fans, Latine fans are driving much of the growth, thanks in part to the legacy of soccer fandom from Latin America.\u003c/p>\n\u003cp>“I love the World Cup. I think it’s so beautiful. I get really emotional during it,” said Cynthia Villamizar of San Francisco, who came to the food truck park with her husband and 7-week-old son.\u003c/p>\n\u003cp>“My dad is from Colombia. My mom’s from Ecuador, so both teams are represented. And my husband’s from India, who I don’t think is represented,” she continued. “But either way, the World Cup represents a beautiful, multicultural, global moment. And our baby is one of those global moments. So it’s a whole family thing.”\u003c/p>\n\u003cp>Latine fans make up much of the growth of soccer in the United States. A 2022 \u003ca href=\"https://www.prnewswire.com/news-releases/telemundo-rolls-out-the-future-is-futbol-a-comprehensive-report-on-the-state-of-soccer-the-fastest-growing-major-team-sport-in-america-301619868.html\">report\u003c/a> from NBCUniversal Telemundo Enterprises found that among U.S. Latinos ages 16 and older, 73% say they are soccer fans and 22% described themselves as “superfans” — more than triple the share of non-Hispanics who ascribe to that term.\u003c/p>\n\u003cp>“We definitely see the World Cup as a big opportunity,” said Javier Garcia, senior vice president of multicultural growth for cable and internet provider Comcast. “For multicultural consumers, it is very clear that it’s a huge opportunity. We see soccer as a sport that continues to grow in the United States. We know that is the future and that’s why we’re putting all the investment and efforts behind it.”\u003c/p>\n\u003cp>A sea of fans in green Mexico jerseys packed picnic tables in the lawn area at Spark SF under a bright midday sun. They sipped beers, noshed on plates from food trucks while keeping their eyes fixed on a giant TV broadcasting the match.\u003c/p>\n\u003cfigure id=\"attachment_12087343\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12087343\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260611-KONDAWORLDCUP00635_TV-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260611-KONDAWORLDCUP00635_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260611-KONDAWORLDCUP00635_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260611-KONDAWORLDCUP00635_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Fans express disbelief while watching the Mexico vs. South Africa World Cup game at a watch party at SPARK Social SF in San Francisco on June 11, 2026. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The World Cup is such a moment for our cultures to shine on a global stage, for people to just celebrate where they’re from, whether they were born there or not,” Villamizar said. “Especially for American-born Latinos, it’s a way to represent for a country that their family celebrates.”\u003c/p>\n\u003cp>Luis Pablo Michel, a 27-year-old from San José, said U.S. hostility toward immigrants and foreign visitors – including World Cup players – along with high ticket prices, is putting a damper on this year’s celebration.\u003c/p>\n\u003cp>“I’m not paying $200 to watch only from the top,” he said. “It’s like the first time you get excited about the World Cup, and it’s like you’re outmatched, you’re outpriced, and it’s kind of a sad thing.”\u003c/p>\n\u003cfigure id=\"attachment_12087328\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12087328\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260611-KONDAWORLDCUP00033_TV-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260611-KONDAWORLDCUP00033_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260611-KONDAWORLDCUP00033_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260611-KONDAWORLDCUP00033_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Luis Pablo Michel poses for a portrait at a Mexico vs. South Africa World Cup watch party at SPARK Social SF in San Francisco on June 11, 2026. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, he was excited to watch the opener with his girlfriend.\u003c/p>\n\u003cp>“I love soccer. I love Mexico,” he said. “What are you going to do, you know? It’s the World Cup. You’re going to watch it.”\u003c/p>\n\u003cp>Nataly and Aimee Rendon, two sisters from San Pablo, also came out to watch Mexico play.\u003c/p>\n\u003cfigure id=\"attachment_12087329\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12087329\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260611-KONDAWORLDCUP00048_TV-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260611-KONDAWORLDCUP00048_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260611-KONDAWORLDCUP00048_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260611-KONDAWORLDCUP00048_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sisters Aimee Rendon (left) and Natalie Rendon (right) pose for a portrait at a Mexico vs. South Africa World Cup watch party at SPARK Social SF in San Francisco on June 11, 2026. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m feeling excited, mostly excited,” said Nataly Rendon, 30. “I’m excited for everyone, all the cultures to visit different countries and just get to know other places of the world.”\u003c/p>\n\u003cp>At the same time, Aimee Rendon, 29, said it’s important to recognize other issues surrounding the festivities, like\u003ca href=\"https://www.npr.org/2026/06/08/nx-s1-5850429/as-mexico-hosts-the-world-cup-families-of-the-disappeared-keep-searching\"> families of missing people \u003c/a>protesting at games in Mexico or \u003ca href=\"http://theguardian.com/football/2026/jun/11/iran-world-cup-tijuana-security-camp-mexico\">the Iranian National Team\u003c/a> being barred from preparing in the United States.\u003c/p>\n\u003cp>As Mexican-Americans, they were also excited to cheer for their parents’ home country.\u003c/p>\n\u003cfigure id=\"attachment_12087339\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12087339\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260611-KONDAWORLDCUP00413_TV-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260611-KONDAWORLDCUP00413_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260611-KONDAWORLDCUP00413_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260611-KONDAWORLDCUP00413_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A handkerchief with a Mexico flag design rests on a picnic table at a Mexico vs. South Africa World Cup watch party at SPARK Social SF in San Francisco on June 11, 2026. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rooting for Mexico “feels natural,” Nataly Rendon said. “I feel like it’s más orgullo mexicano, definitely, 100%.”\u003c/p>\n\u003cp>Ana Guzman, 37, took the day off and drove from her home in Stockton with her daughter to San Francisco for “the vibe.”\u003c/p>\n\u003cp>“The World Cup really brings out something in us — our pride, our heritage, our culture,” Guzman, who is Mexican-American, said. “Every four years you will catch me watching the World Cup.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>This story was reported for K Onda KQED, a monthly newsletter focused on the Bay Area’s Latinx community. \u003ca href=\"https://www.kqed.org/newsletters/k-onda\">Click here to subscribe\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>I have a hard time imagining \u003ca href=\"https://www.kqed.org/news/tag/san-francisco\">San Francisco\u003c/a> when it was founded 250 years ago. Few people inhabited the hilly, foggy landscape. Mission Dolores, officially Misión San Francisco de Asís, was a small chapel made of adobe — the only original intact building from that time.\u003c/p>\n\u003cp>Construction on the Presidio was just beginning. Most of the inhabitants were Indigenous people and some Spanish families who came this far north in Alta California because they had few options elsewhere.\u003c/p>\n\u003cp>San Francisco was more of an undesirable, remote village than the bewitching metropolis it is now.\u003c/p>\n\u003cp>As our nation nears what’s being called our 250th birthday — the anniversary of the signing of the Declaration of Independence — I’ve been thinking about what it means to be a citizen of this nation now in the Bay Area, which was not even part of the United States in 1776. At the time, California was part of the Spanish colony that would later become Mexico.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Looking back 250 years is an opportunity to highlight the long legacy of Indigenous, Spanish and Mexican culture in the United States. We were here before there was a United States and, while that seems obvious, I find it worth repeating because we have been and continue to be treated as outsiders, as foreigners and as a threat.\u003c/p>\n\u003cp>I reached out to historian Steven W. Hackel, who teaches at UC Riverside and has written extensively about the Bay Area’s history before the Gold Rush.\u003c/p>\n\u003cp>“A lot of people would have asserted for many years that California’s history began with the Gold Rush and statehood,” he told me. “That’s sort of when all the lights came on at once, which really sweeps aside the early Spanish, Native American and Mexican history of California. So I spent much of my career trying to argue against that.”\u003c/p>\n\u003cp>One reason for the oversight, Hackel said, could be prejudice. The early history of Northern California is less interesting because most of the historical documents are in Spanish and the focus is on the original Indigenous inhabitants and Spanish settlers who brought Catholicism. Another reason is that it’s considered Mexican history.\u003c/p>\n\u003cp>“We had a very complex and significant colonial period in California. And the 1770s are when the Bay Area was really colonized richly. All the native groups that are in the immediate Bay Area region are either pulled into California missions or certainly engage with them at some level,” Hackel said.[aside postID=news_12079414 hero='https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/20150522-CynthiaWoodPhoto-DSC_7143.jpg']“Is the settlement of California a part of the settlement of Mexico? I mean, there’s no question. Our history is colonial Latin American history. It’s not British North American history.”\u003c/p>\n\u003cp>When I was growing up, my mother, who had been a schoolteacher in Mexico before she emigrated, was the first person to inform me that the United States had “stolen half of Mexico.” It was a history that was frankly brushed over in my AP American history class in high school and that I had to research on my own. For years, I was angry that one nation could steal another’s territory and gloss it over by calling it “Manifest Destiny.”\u003c/p>\n\u003cp>I have since realized that being angry about history doesn’t accomplish much — unless that anger is applied to understand the present and future in a different way.\u003c/p>\n\u003cp>Last September, the Supreme Court ruled that immigration agents can legally question people based on their apparent ethnicity, accent and place of work — in other words, making racial profiling legal.\u003c/p>\n\u003cp>These so-called “Kavanaugh stops” are one of many ways the Trump administration’s crackdown on immigration has disproportionately punished Latine communities across the country despite the fact that the majority of Latines were born in the United States.\u003c/p>\n\u003cp>I produced a Forum episode in April about the psychological and behavioral toll of immigration enforcement on Latinos that was partly inspired by \u003cem>The Atlantic\u003c/em> article titled, The Risk of Speaking Spanish in Public, which described young people’s fears of being targeted by ICE just because they “look Hispanic” or have a Spanish name.\u003c/p>\n\u003cp>And by “looking Hispanic,” we know that means having dark skin even though people from Latin America come in every color and ethnicity. Still, it seems like a cruel irony that having brown skin, which connotes having more indigenous ancestry, makes you more “suspicious” to immigration agents.\u003c/p>\n\u003cp>One of the guests on the show, Stanford sociologist Tomás R. Jiménez, told me that the Trump administration’s policies are reshaping the idea of who qualifies as American by making it an official policy to question anyone who doesn’t fit the prototypical look of what people associate with “American.”\u003c/p>\n\u003cp>“Policies don’t just tell us what we can and can’t do; they tell us who we are,” Jiménez said.\u003c/p>\n\u003cp>I grew up not questioning if I was American enough. I didn’t have time for that. The question of belonging was not important given that I was on a mission, like many children of immigrants, to make my parents’ sacrifice worth it, to succeed, and “make it.” I didn’t question my Americanness because I was born and bred here. I was more concerned with not losing my Mexicanness in a society that looked down on people like me.\u003c/p>\n\u003cp>One of the byproducts of Trump’s anti-immigrant policies is to discredit and delegitimize people who don’t fit his vision of a true “American,” but of course that didn’t start with this administration. Sometimes historians choose to overlook history that doesn’t fit their worldview.\u003c/p>\n\u003cp>“There are competing versions of what it means to be American, and those competing versions have always been there,” Jiménez said. “American identity is not one thing, and there are people who are trying to make it one thing, but we are a country that has welcomed immigrants from all over the world and, by global comparison, have created a country that has had lots of social mobility for immigrants and their descendants.”\u003c/p>\n\u003cp>And that is what I’ll be thinking about when America turns 250 next month — that I, and my history, belong here.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story was reported for K Onda KQED, a monthly newsletter focused on the Bay Area’s Latinx community. \u003ca href=\"https://www.kqed.org/newsletters/k-onda\">Click here to subscribe\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>I have a hard time imagining \u003ca href=\"https://www.kqed.org/news/tag/san-francisco\">San Francisco\u003c/a> when it was founded 250 years ago. Few people inhabited the hilly, foggy landscape. Mission Dolores, officially Misión San Francisco de Asís, was a small chapel made of adobe — the only original intact building from that time.\u003c/p>\n\u003cp>Construction on the Presidio was just beginning. Most of the inhabitants were Indigenous people and some Spanish families who came this far north in Alta California because they had few options elsewhere.\u003c/p>\n\u003cp>San Francisco was more of an undesirable, remote village than the bewitching metropolis it is now.\u003c/p>\n\u003cp>As our nation nears what’s being called our 250th birthday — the anniversary of the signing of the Declaration of Independence — I’ve been thinking about what it means to be a citizen of this nation now in the Bay Area, which was not even part of the United States in 1776. At the time, California was part of the Spanish colony that would later become Mexico.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Looking back 250 years is an opportunity to highlight the long legacy of Indigenous, Spanish and Mexican culture in the United States. We were here before there was a United States and, while that seems obvious, I find it worth repeating because we have been and continue to be treated as outsiders, as foreigners and as a threat.\u003c/p>\n\u003cp>I reached out to historian Steven W. Hackel, who teaches at UC Riverside and has written extensively about the Bay Area’s history before the Gold Rush.\u003c/p>\n\u003cp>“A lot of people would have asserted for many years that California’s history began with the Gold Rush and statehood,” he told me. “That’s sort of when all the lights came on at once, which really sweeps aside the early Spanish, Native American and Mexican history of California. So I spent much of my career trying to argue against that.”\u003c/p>\n\u003cp>One reason for the oversight, Hackel said, could be prejudice. The early history of Northern California is less interesting because most of the historical documents are in Spanish and the focus is on the original Indigenous inhabitants and Spanish settlers who brought Catholicism. Another reason is that it’s considered Mexican history.\u003c/p>\n\u003cp>“We had a very complex and significant colonial period in California. And the 1770s are when the Bay Area was really colonized richly. All the native groups that are in the immediate Bay Area region are either pulled into California missions or certainly engage with them at some level,” Hackel said.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Is the settlement of California a part of the settlement of Mexico? I mean, there’s no question. Our history is colonial Latin American history. It’s not British North American history.”\u003c/p>\n\u003cp>When I was growing up, my mother, who had been a schoolteacher in Mexico before she emigrated, was the first person to inform me that the United States had “stolen half of Mexico.” It was a history that was frankly brushed over in my AP American history class in high school and that I had to research on my own. For years, I was angry that one nation could steal another’s territory and gloss it over by calling it “Manifest Destiny.”\u003c/p>\n\u003cp>I have since realized that being angry about history doesn’t accomplish much — unless that anger is applied to understand the present and future in a different way.\u003c/p>\n\u003cp>Last September, the Supreme Court ruled that immigration agents can legally question people based on their apparent ethnicity, accent and place of work — in other words, making racial profiling legal.\u003c/p>\n\u003cp>These so-called “Kavanaugh stops” are one of many ways the Trump administration’s crackdown on immigration has disproportionately punished Latine communities across the country despite the fact that the majority of Latines were born in the United States.\u003c/p>\n\u003cp>I produced a Forum episode in April about the psychological and behavioral toll of immigration enforcement on Latinos that was partly inspired by \u003cem>The Atlantic\u003c/em> article titled, The Risk of Speaking Spanish in Public, which described young people’s fears of being targeted by ICE just because they “look Hispanic” or have a Spanish name.\u003c/p>\n\u003cp>And by “looking Hispanic,” we know that means having dark skin even though people from Latin America come in every color and ethnicity. Still, it seems like a cruel irony that having brown skin, which connotes having more indigenous ancestry, makes you more “suspicious” to immigration agents.\u003c/p>\n\u003cp>One of the guests on the show, Stanford sociologist Tomás R. Jiménez, told me that the Trump administration’s policies are reshaping the idea of who qualifies as American by making it an official policy to question anyone who doesn’t fit the prototypical look of what people associate with “American.”\u003c/p>\n\u003cp>“Policies don’t just tell us what we can and can’t do; they tell us who we are,” Jiménez said.\u003c/p>\n\u003cp>I grew up not questioning if I was American enough. I didn’t have time for that. The question of belonging was not important given that I was on a mission, like many children of immigrants, to make my parents’ sacrifice worth it, to succeed, and “make it.” I didn’t question my Americanness because I was born and bred here. I was more concerned with not losing my Mexicanness in a society that looked down on people like me.\u003c/p>\n\u003cp>One of the byproducts of Trump’s anti-immigrant policies is to discredit and delegitimize people who don’t fit his vision of a true “American,” but of course that didn’t start with this administration. Sometimes historians choose to overlook history that doesn’t fit their worldview.\u003c/p>\n\u003cp>“There are competing versions of what it means to be American, and those competing versions have always been there,” Jiménez said. “American identity is not one thing, and there are people who are trying to make it one thing, but we are a country that has welcomed immigrants from all over the world and, by global comparison, have created a country that has had lots of social mobility for immigrants and their descendants.”\u003c/p>\n\u003cp>And that is what I’ll be thinking about when America turns 250 next month — that I, and my history, belong here.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "carnaval-san-francisco-2026-parade-route-map-parking-headliners-mi-banda-el-mexicano-world-cup-muni-street-closures",
"title": "Carnaval San Francisco 2026: From Parade Route to Parking, What to Know This Weekend",
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"content": "\u003cp>This weekend, \u003ca href=\"https://www.kqed.org/news/tag/carnaval\">Carnaval San Francisco\u003c/a> will take over the streets of San Francisco’s Mission District, bringing a flurry of colors, feathers and sequins — moving to the beats of samba, regional mexicano and reggaeton.\u003c/p>\n\u003cp>This community celebration, now in its 48th year, will fall on Memorial Day weekend: Saturday, May 23 and Sunday, May 24.\u003c/p>\n\u003cp>With \u003ca href=\"https://carnavalsanfrancisco.org/festival/\">a two-day festival\u003c/a> featuring headliner Mi Banda el Mexicano de Casimiro on Saturday and the \u003ca href=\"https://carnavalsanfrancisco.org/parade/\">Grand Parade\u003c/a> on Sunday, made up of over 70 different contingents, Carnaval is one of San Francisco’s most emblematic celebrations – and it’s all completely free.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Jump straight to:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>\u003ca href=\"#WhattimedoesCarnavalSanFranciscostartonMemorialDayweekend\">What time does Carnaval San Francisco start on Memorial Day weekend?\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#MAPWherecanIwatchtheCarnavalSanFranciscoparade\">MAP: Where can I watch the Carnaval San Francisco parade?\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#WherecanIfindparkingatCarnavalSanFrancisco\">Where can I find parking at Carnaval San Francisco?\u003c/a>\u003c/strong>\u003c/li>\n\u003c/ul>\n\u003cp>Never seen the Grand Parade before? Picture Mission Street not full of the usual commuter traffic and Muni buses — but instead brimming with beautifully decorated floats accompanied by thousands of dancers and musicians representing the many cultures of Latin America and the Caribbean.\u003c/p>\n\u003cfigure id=\"attachment_11987833\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987833\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-08-BL.jpg\" alt=\"A woman dressed in a colorful costume walks during a parade.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-08-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-08-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-08-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-08-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-08-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-08-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A performer in the Carnaval Grand Parade in San Francisco’s Mission District on May 26, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And that’s just Sunday. With over 3,000 dancers, musicians and artists sharing their work throughout the entire weekend, it’s hard to run out of things to do at Carnaval.\u003c/p>\n\u003cp>Keep reading for all the information you need to make the most of Carnaval 2026 this weekend.\u003c/p>\n\u003ch2>Carnaval 2026: Bringing soccer back to the people\u003c/h2>\n\u003cp>Back in 1979, Carnaval was first held in SF’s Precita Park as part of an effort by artists and organizers to pay homage to the historic Carnaval celebrations across Latin America and the Caribbean — while giving a platform for local musicians and dancers to come together and pass on their traditions.\u003c/p>\n\u003cp>Decades later, this community celebration has now grown to include over twenty blocks of the Mission District, making it one of the biggest celebrations of its kind on the West Coast.\u003c/p>\n\u003cfigure id=\"attachment_12044957\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12044957\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/SJEarthquakesGetty.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/SJEarthquakesGetty.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/SJEarthquakesGetty-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/SJEarthquakesGetty-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Nick Lima #24 of San José Earthquakes with the ball tackled by Jayden Reid #99 of St. Louis City SC during the second half of an MLS game between St. Louis City SC and San José Earthquakes at Energizer Park on May 31, 2025, in St Louis, Missouri. \u003ccite>(Bill Barrett/ISI Photos/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year, Carnaval is embracing soccer as its theme, Executive Director Rodrigo Durán said. “Soccer is deeply ingrained in Latin American culture,” he said. “This is the people we serve. These are the people that we dance with. The World Cup coming to the Bay really meant a lot for the many people involved in Carnaval.”\u003c/p>\n\u003cp>As the Bay Area prepares to host \u003ca href=\"https://www.kqed.org/news/12083101/world-cup-2026-bay-area-games-where-is-fifa-world-cup-santa-clara-levis-stadium-tickets-fan-zone-watch-parties\">six World Cup games this summer\u003c/a>, Durán said that community events like Carnaval help keep soccer accessible to all. “You don’t need an expensive ticket to come to Carnaval, because it’s 100% free,” he said, adding that event organizers have partnered up with \u003ca href=\"https://www.kqed.org/news/12076503/mens-world-cup-soccer-san-francisco-bay-area-tickets-matches-santa-clara-levis-stadium\">local teams\u003c/a> like Bay FC, the Oakland Roots and San Francisco City FC to host scrimmages, giveaways and soccer workshops all weekend long.\u003c/p>\n\u003cp>“Come play soccer, come see wonderful players, or reconnect yourself with that wonderful game of soccer,” he said. “We want this to be the cup of the people — la copa del pueblo.”\u003c/p>\n\u003ch2>\u003ca id=\"WhattimedoesCarnavalSanFranciscostartonMemorialDayweekend\">\u003c/a>Where is Carnaval San Francisco, and what’s the schedule?\u003c/h2>\n\u003cp>Carnaval has two main components: the festival and Sunday’s Grand Parade.\u003c/p>\n\u003cp>The festival happens on Saturday and Sunday: on both days, gates open at 11 a.m. and festivities wrap up by 6 p.m.\u003c/p>\n\u003cp>The festival will take place on Harrison Street, from 16th to 24th streets. Hundreds of artisans and food vendors fill up this space, with DJs playing at block parties on 18th, 20th and 21st streets.\u003c/p>\n\u003cfigure id=\"attachment_11987825\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987825\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-18-BL.jpg\" alt=\"A man and woman dance in white clothing and colorful dresses in the street.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-18-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-18-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-18-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-18-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-18-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-18-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Members of the group Mi Tierra Colombiana practice before the Carnaval Grand Parade in San Francisco’s Mission District on May 26, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Four stages will be set up throughout Harrison Street, featuring performances from headliner Mi Banda el Mexicano de Casimiro.\u003c/p>\n\u003cp>Led by Casimiro Zamudio, the band — whose signature sound blends traditional banda percussion with elements of electronic music — became a household name for many families in the 90s with hits like “Feliz Feliz,” “La Bota” and “No Bailes de Caballito.” If you’ve been to a quinceañera and this band comes on, that means you \u003cem>got \u003c/em>to go dance.\u003c/p>\n\u003cp>Dozens of other live performances are scheduled throughout the neighborhood on both days, including a tribute to the \u003ca href=\"https://www.kqed.org/arts/13986089/dr-loco-dies-jose-cuellar-chicano-scholar-bandleader-san-francisco\">late Bay Area rock icon and academic\u003c/a> José Cuéllar, also known as Dr. Loco: saxophonist, accordionist and vocalist of Dr. Loco’s Rockin’ Jalapeño Band. [aside postID=news_12083056 hero='https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260511-KONDAMAY-03-BL-KQED.jpg']\u003ca href=\"https://carnavalsanfrancisco.org/festival/\">Check out the full Carnaval 2026 festival lineup.\u003c/a>\u003c/p>\n\u003cp>Perhaps the biggest addition to this year’s festival is the area entirely dedicated to soccer on Harrison between 19th and 20th streets, where \u003ca href=\"https://www.kqed.org/news/12076503/mens-world-cup-soccer-san-francisco-bay-area-tickets-matches-santa-clara-levis-stadium\">local soccer teams\u003c/a> will host scrimmages and giveaways throughout the weekend.\u003c/p>\n\u003cp>You can even \u003ca href=\"https://carnavalsanfrancisco.org/festival/#soccer-arena\">sign up ahead of time\u003c/a> to request a specific time for you and your team to play (3 vs. 3 and 5 vs. 5 options available). La Plaza del Fútbol — as organizers have named the space — is open to all genders and skill levels.\u003c/p>\n\u003cp>Throughout the weekend, \u003ca href=\"https://carnavalsanfrancisco.org/festival/\">there will also be four different block parties\u003c/a>, each with live DJs hitting different musical styles.\u003c/p>\n\u003cp>One of those block parties — Colores de Amor on 19th and Harrison streets — will feature drag performances on Sunday by \u003ca href=\"https://www.instagram.com/per_sia/\">Per Sia\u003c/a> and \u003ca href=\"https://www.instagram.com/sweetestmilksf/\">Dulce De Leche\u003c/a>, along with DJ sets from \u003ca href=\"https://www.instagram.com/djbrownangel/\">Brown Angel\u003c/a>.\u003c/p>\n\u003ch2>Where are the entrances to the Carnaval 2026 festival?\u003c/h2>\n\u003cp>You’ll find free entrances (and exits) on every street from 16th to 24th streets, located at:\u003c/p>\n\u003cul>\n\u003cli>16th and Harrison\u003c/li>\n\u003cli>17th and Alabama\u003c/li>\n\u003cli>18th and Folsom\u003c/li>\n\u003cli>19th and Alabama\u003c/li>\n\u003cli>20th and Folsom\u003c/li>\n\u003cli>20th and Alabama\u003c/li>\n\u003cli>21st and Folsom\u003c/li>\n\u003cli>23rd and Folsom\u003c/li>\n\u003cli>23rd and Alabama\u003c/li>\n\u003cli>24th and Harrison.\u003c/li>\n\u003c/ul>\n\u003cp>Visitors cannot bring \u003ca href=\"https://carnavalsanfrancisco.org/faq/#festival\">outside alcoholic beverages\u003c/a> into the festival space. Alcohol is available for purchase inside the festival, but only in specific enclosed areas requiring visitors to provide identification for access. Pets are also not permitted in the festival space — except if they’re service animals.\u003c/p>\n\u003cp>Remember: Security staff will be present at each entrance to check bags.\u003c/p>\n\u003ch2>\u003ca id=\"MAPWherecanIwatchtheCarnavalSanFranciscoparade\">\u003c/a>When does the Carnaval Grand Parade start, and what’s the parade route?\u003c/h2>\n\u003cp>The Carnaval Grand Parade takes place on Sunday. Starting at 10 a.m., the parade features dozens of floats and hundreds of dancers moving through the entire neighborhood.\u003c/p>\n\u003cp>The Carnaval parade route begins at Bryant and 24th streets, then moves through 24th Street, takes a right on Mission Street, stays on that street all the way to 15th Street, and wraps up at Harrison and 15th streets.\u003c/p>\n\u003cp>The dancers and musicians in the parade perform nonstop the whole way, which is a particularly impressive feat when you consider that some of the most elaborate outfits can weigh up to 40 pounds.\u003c/p>\n\u003cp>On top of that, there’s a contest element — as contingents, or comparsas, compete against each other in multiple categories. Judges will rank each comparsa on originality, choreography and production design.\u003c/p>\n\u003cfigure id=\"attachment_12083325\" class=\"wp-caption alignleft\" style=\"max-width: 547px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12083325\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/ParadeMap_2026-1.jpg\" alt=\"\" width=\"547\" height=\"708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/ParadeMap_2026-1.jpg 547w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/ParadeMap_2026-1-160x207.jpg 160w\" sizes=\"auto, (max-width: 547px) 100vw, 547px\">\u003cfigcaption class=\"wp-caption-text\">The Grand Parade and festival map for the 2026 Carnaval San Francisco \u003ccite>(Carnaval San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you can’t make it exactly at the 10 a.m. parade start time, don’t worry: The parade goes on for hours before finally wrapping up at 2 p.m.\u003c/p>\n\u003cp>Can’t make it in person at all? \u003ca href=\"https://www.cbsnews.com/sanfrancisco/live/\">KPIX will be streaming the parade online.\u003c/a>\u003c/p>\n\u003ch2>A few things to look for at the Carnaval San Francisco Grand Parade\u003c/h2>\n\u003cp>What makes San Francisco’s Carnaval distinct from other Carnaval celebrations you may see in Rio de Janeiro or Barranquilla is that it embraces the multiple traditions and histories of California’s Latin American and Caribbean diasporas.\u003c/p>\n\u003cp>One tradition that San Francisco has carried on for decades: a few weeks before Carnaval weekend, community members choose a new King and Queen of Carnaval. This year, Chris Cornelious and Mizzy Ng will wear the crowns during the parade.\u003c/p>\n\u003cp>The 70 different comparsas that make up this year’s parade include long-standing groups like Flavaz of D’ Caribbean, who’ve won multiple Carnaval categories year after year with high-energy choreography representing the music of Trinidad and Tobago.\u003c/p>\n\u003cp>You can also spot the contingent from Tradición Peruana Cultural Center — one of the oldest community-led groups nationwide dedicated to Peruvian culture, which, despite losing its San Francisco home \u003ca href=\"https://missionlocal.org/2026/01/sf-peruvian-cultural-center-closes/\">earlier this year\u003c/a>, has continued to work with public schools to promote Peruvian dance and drumming.\u003c/p>\n\u003cp>And while you dance to the music, make sure to pay close attention to what the performers are wearing. Many comparsas start preparing their parade outfits months in advance.\u003c/p>\n\u003cp>For example, dancers with Carnaval Putleco, a comparsa which \u003ca href=\"https://www.kqed.org/news/11987673/carnaval-putleco-brings-a-oaxacan-festival-of-colors-to-the-bay-area\">honors the culture of Putla, Oaxaca,\u003c/a> by dancing with tiliches: incredibly colorful and elaborate full-body suits made by hand with hundreds of ribbons, shells and beads.\u003c/p>\n\u003cp>\u003ca href=\"https://carnavalsanfrancisco.org/parade/\">See the full list of participating comparsas at Carnaval San Francisco.\u003c/a>\u003c/p>\n\u003ch2>If the Carnaval San Francisco Grand Parade is free, can I just show up?\u003c/h2>\n\u003cp>Yes: no tickets or registration are required for the Carnaval parade — or the festival itself. Just show up anywhere along the parade route and enjoy the show.\u003c/p>\n\u003cp>However, if you want a unique vantage point, \u003ca href=\"https://givebutter.com/2026GrandstandSeating\">you can purchase special Grand Stand seats for the Carnaval parade\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11987820\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987820\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-22-BL.jpg\" alt=\"Several people dressed in decorative attire walk down the street during a parade.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-22-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-22-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-22-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-22-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-22-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-22-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Amando Herrera Villa wears a tiliche handmade by his wife, Martha Cortés Rojas, with beads and ayoyote shells, during the Carnaval Grand Parade in San Francisco’s Mission District. Herrera Villa is part of the Oaxacan group Carnaval Putleco. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These elevated bleachers, located along Mission Street between 22nd and 23rd streets, are next to the judges’ tables, where each contingent will pause and perform for an extra amount of time. Keep in mind that Grand Stand tickets will only be available before the parade and will not be sold day of.\u003c/p>\n\u003cp>There are no truly bad spots from which to watch the parade, but if you post up at 24th Street, you’ll be much closer to the performers — albeit a bit more cramped with foot traffic. If you’re on Mission Street, you’ll definitely have a lot more room to move around.\u003c/p>\n\u003ch2>Who’s headlining this year at Carnaval San Francisco?\u003c/h2>\n\u003cp>Over 50 musicians, DJs and dance groups will perform throughout the weekend across the four stages and five block parties located throughout Harrison Street.\u003c/p>\n\u003cp>This year’s headliner is Mi Banda el Mexicano de Casimiro — and getting the band to Carnaval is a dream come true, Durán said. When organizers made the announcement last month on social media, hundreds of fans quickly posted how excited they were about the group coming to the festival.\u003c/p>\n\u003cp>Even if you don’t know the group’s music just yet, stick around and watch how fans dance. Many of Banda El Mexicano’s greatest hits helped the \u003ca href=\"https://www.dazeddigital.com/art-photography/article/61840/1/quebradita-los-angeles-subculture-vaquero-cowboy-dance-james-pearson-howes-photo\">quebradita genre\u003c/a> of Mexican regional music reach wider audiences on both sides of the border throughout the 90s. And since dancing quebradita is an acrobatic feat, expect high kicks, flips in the air and backbends from within the crowd — all in one song.\u003c/p>\n\u003cp>\u003ca href=\"https://carnavalsanfrancisco.org/festival/\">See the full list of performers at Carnaval San Francisco.\u003c/a>\u003c/p>\n\u003ch2>Is Carnaval San Francisco family-friendly?\u003c/h2>\n\u003cp>Yes: For many Bay Area families, going to Carnaval with the kids, teens and grandparents is a decades-long tradition.\u003c/p>\n\u003cp>In the festival space, organizers have set up a Kids Zone at Harrison and 18th Street where families can paint, dance and play drums. Families are also welcome to join the different activities scheduled at La Plaza del Fútbol.\u003c/p>\n\u003cfigure id=\"attachment_11987821\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987821\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-23-BL.jpg\" alt=\"Several people dressed in decorative attire walk down the street during a parade.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-23-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-23-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-23-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-23-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-23-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-23-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Groups from Oaxaca dance on Mission Street during the Carnaval Grand Parade in San Francisco’s Mission District on May 26, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You’ll also find an area set up for skateboarding on 23rd and Harrison, next to a health and wellness pavilion offering testing for both COVID-19 and blood pressure.\u003c/p>\n\u003cp>Event staff will be present at several points throughout the festival, including an information booth on 19th and Harrison.\u003c/p>\n\u003ch2>\u003ca id=\"WherecanIfindparkingatCarnavalSanFrancisco\">\u003c/a>How do I get to Carnaval San Francisco? What about parking?\u003c/h2>\n\u003cp>If you’re planning to drive into the Mission during Carnaval weekend, it’s not going to be easy.\u003c/p>\n\u003cp>The areas surrounding Harrison Street, from 16th to 24th streets, will be closed off to cars the whole weekend, which means a huge amount of the neighborhood’s parking spots will be off-limits. Even residents will have to move their cars to make way for the festival, so there’ll be a lot of competition for the few remaining spots left.\u003c/p>\n\u003cp>“Driving in is not the best idea,” said Durán, who recommends that attendees instead use public transit to get to the celebrations.\u003c/p>\n\u003cfigure id=\"attachment_11987822\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987822\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-26-BL.jpg\" alt=\"Several people dance on the sidewalk during a parade.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-26-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-26-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-26-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-26-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-26-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-26-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Spectators dance during the Carnaval Grand Parade in San Francisco’s Mission District on May 26, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But if you do need to drive, he suggested looking for a spot to the west of Harrison Street (past Valencia Street) as the streets on the eastern half of the Mission District will see the most competition for parking.\u003c/p>\n\u003cp>On Sunday, all cars parked along the Grand Parade route will have to move, including Mission Street from 24th Street to 15th Street, chunks of 24th and 15th streets as well, and sections of Bryant Street.\u003c/p>\n\u003cp>If you live on any of the streets that’ll be taken over by Carnaval this weekend and need to move your car in or out of your garage, look for a Carnaval staff member so they can escort your vehicle through the emergency access lanes.\u003c/p>\n\u003ch2>Taking public transit to Carnaval San Francisco\u003c/h2>\n\u003cp>BART will continue operating with a weekday schedule at both 16th and 24th Mission stations.\u003c/p>\n\u003cp>On Saturday, you can ride the 22, 33, 55 and 48 Muni bus routes, which will pass near the festival entrances, and the 9, 12, 14, 14R and 49 bus lines can drop you off a few blocks away. Prepare for your trip on Muni \u003ca href=\"https://www.sfmta.com/trip-planner\">using SFMTA’s online planning tool\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11911716\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11911716\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/RS42256_030_KQED_SanFrancisco_Mission_03202020_9678-qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/RS42256_030_KQED_SanFrancisco_Mission_03202020_9678-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/RS42256_030_KQED_SanFrancisco_Mission_03202020_9678-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/RS42256_030_KQED_SanFrancisco_Mission_03202020_9678-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/RS42256_030_KQED_SanFrancisco_Mission_03202020_9678-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/RS42256_030_KQED_SanFrancisco_Mission_03202020_9678-qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A bank of BART turnstiles at 24th Street Station. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SFMTA officials confirmed with KQED that the complete list of Muni service affected by the festival and parade will be available a few days ahead of Carnaval.\u003c/p>\n\u003cp>If you want to avoid congestion caused by all the changes to Muni service, your best bet would be to take BART to either 16th or 24th Mission BART stations.\u003c/p>\n\u003cp>Prepare for your trip on BART \u003ca href=\"https://www.bart.gov/planner\">using the agency’s online planning tool\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "The Mission District’s biggest party is almost here. Where to park, how to watch the parade, who’s headlining and what family activities are available.\r\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This weekend, \u003ca href=\"https://www.kqed.org/news/tag/carnaval\">Carnaval San Francisco\u003c/a> will take over the streets of San Francisco’s Mission District, bringing a flurry of colors, feathers and sequins — moving to the beats of samba, regional mexicano and reggaeton.\u003c/p>\n\u003cp>This community celebration, now in its 48th year, will fall on Memorial Day weekend: Saturday, May 23 and Sunday, May 24.\u003c/p>\n\u003cp>With \u003ca href=\"https://carnavalsanfrancisco.org/festival/\">a two-day festival\u003c/a> featuring headliner Mi Banda el Mexicano de Casimiro on Saturday and the \u003ca href=\"https://carnavalsanfrancisco.org/parade/\">Grand Parade\u003c/a> on Sunday, made up of over 70 different contingents, Carnaval is one of San Francisco’s most emblematic celebrations – and it’s all completely free.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Jump straight to:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>\u003ca href=\"#WhattimedoesCarnavalSanFranciscostartonMemorialDayweekend\">What time does Carnaval San Francisco start on Memorial Day weekend?\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#MAPWherecanIwatchtheCarnavalSanFranciscoparade\">MAP: Where can I watch the Carnaval San Francisco parade?\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#WherecanIfindparkingatCarnavalSanFrancisco\">Where can I find parking at Carnaval San Francisco?\u003c/a>\u003c/strong>\u003c/li>\n\u003c/ul>\n\u003cp>Never seen the Grand Parade before? Picture Mission Street not full of the usual commuter traffic and Muni buses — but instead brimming with beautifully decorated floats accompanied by thousands of dancers and musicians representing the many cultures of Latin America and the Caribbean.\u003c/p>\n\u003cfigure id=\"attachment_11987833\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987833\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-08-BL.jpg\" alt=\"A woman dressed in a colorful costume walks during a parade.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-08-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-08-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-08-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-08-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-08-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-08-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A performer in the Carnaval Grand Parade in San Francisco’s Mission District on May 26, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And that’s just Sunday. With over 3,000 dancers, musicians and artists sharing their work throughout the entire weekend, it’s hard to run out of things to do at Carnaval.\u003c/p>\n\u003cp>Keep reading for all the information you need to make the most of Carnaval 2026 this weekend.\u003c/p>\n\u003ch2>Carnaval 2026: Bringing soccer back to the people\u003c/h2>\n\u003cp>Back in 1979, Carnaval was first held in SF’s Precita Park as part of an effort by artists and organizers to pay homage to the historic Carnaval celebrations across Latin America and the Caribbean — while giving a platform for local musicians and dancers to come together and pass on their traditions.\u003c/p>\n\u003cp>Decades later, this community celebration has now grown to include over twenty blocks of the Mission District, making it one of the biggest celebrations of its kind on the West Coast.\u003c/p>\n\u003cfigure id=\"attachment_12044957\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12044957\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/SJEarthquakesGetty.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/SJEarthquakesGetty.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/SJEarthquakesGetty-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/SJEarthquakesGetty-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Nick Lima #24 of San José Earthquakes with the ball tackled by Jayden Reid #99 of St. Louis City SC during the second half of an MLS game between St. Louis City SC and San José Earthquakes at Energizer Park on May 31, 2025, in St Louis, Missouri. \u003ccite>(Bill Barrett/ISI Photos/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year, Carnaval is embracing soccer as its theme, Executive Director Rodrigo Durán said. “Soccer is deeply ingrained in Latin American culture,” he said. “This is the people we serve. These are the people that we dance with. The World Cup coming to the Bay really meant a lot for the many people involved in Carnaval.”\u003c/p>\n\u003cp>As the Bay Area prepares to host \u003ca href=\"https://www.kqed.org/news/12083101/world-cup-2026-bay-area-games-where-is-fifa-world-cup-santa-clara-levis-stadium-tickets-fan-zone-watch-parties\">six World Cup games this summer\u003c/a>, Durán said that community events like Carnaval help keep soccer accessible to all. “You don’t need an expensive ticket to come to Carnaval, because it’s 100% free,” he said, adding that event organizers have partnered up with \u003ca href=\"https://www.kqed.org/news/12076503/mens-world-cup-soccer-san-francisco-bay-area-tickets-matches-santa-clara-levis-stadium\">local teams\u003c/a> like Bay FC, the Oakland Roots and San Francisco City FC to host scrimmages, giveaways and soccer workshops all weekend long.\u003c/p>\n\u003cp>“Come play soccer, come see wonderful players, or reconnect yourself with that wonderful game of soccer,” he said. “We want this to be the cup of the people — la copa del pueblo.”\u003c/p>\n\u003ch2>\u003ca id=\"WhattimedoesCarnavalSanFranciscostartonMemorialDayweekend\">\u003c/a>Where is Carnaval San Francisco, and what’s the schedule?\u003c/h2>\n\u003cp>Carnaval has two main components: the festival and Sunday’s Grand Parade.\u003c/p>\n\u003cp>The festival happens on Saturday and Sunday: on both days, gates open at 11 a.m. and festivities wrap up by 6 p.m.\u003c/p>\n\u003cp>The festival will take place on Harrison Street, from 16th to 24th streets. Hundreds of artisans and food vendors fill up this space, with DJs playing at block parties on 18th, 20th and 21st streets.\u003c/p>\n\u003cfigure id=\"attachment_11987825\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987825\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-18-BL.jpg\" alt=\"A man and woman dance in white clothing and colorful dresses in the street.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-18-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-18-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-18-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-18-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-18-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-18-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Members of the group Mi Tierra Colombiana practice before the Carnaval Grand Parade in San Francisco’s Mission District on May 26, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Four stages will be set up throughout Harrison Street, featuring performances from headliner Mi Banda el Mexicano de Casimiro.\u003c/p>\n\u003cp>Led by Casimiro Zamudio, the band — whose signature sound blends traditional banda percussion with elements of electronic music — became a household name for many families in the 90s with hits like “Feliz Feliz,” “La Bota” and “No Bailes de Caballito.” If you’ve been to a quinceañera and this band comes on, that means you \u003cem>got \u003c/em>to go dance.\u003c/p>\n\u003cp>Dozens of other live performances are scheduled throughout the neighborhood on both days, including a tribute to the \u003ca href=\"https://www.kqed.org/arts/13986089/dr-loco-dies-jose-cuellar-chicano-scholar-bandleader-san-francisco\">late Bay Area rock icon and academic\u003c/a> José Cuéllar, also known as Dr. Loco: saxophonist, accordionist and vocalist of Dr. Loco’s Rockin’ Jalapeño Band. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ca href=\"https://carnavalsanfrancisco.org/festival/\">Check out the full Carnaval 2026 festival lineup.\u003c/a>\u003c/p>\n\u003cp>Perhaps the biggest addition to this year’s festival is the area entirely dedicated to soccer on Harrison between 19th and 20th streets, where \u003ca href=\"https://www.kqed.org/news/12076503/mens-world-cup-soccer-san-francisco-bay-area-tickets-matches-santa-clara-levis-stadium\">local soccer teams\u003c/a> will host scrimmages and giveaways throughout the weekend.\u003c/p>\n\u003cp>You can even \u003ca href=\"https://carnavalsanfrancisco.org/festival/#soccer-arena\">sign up ahead of time\u003c/a> to request a specific time for you and your team to play (3 vs. 3 and 5 vs. 5 options available). La Plaza del Fútbol — as organizers have named the space — is open to all genders and skill levels.\u003c/p>\n\u003cp>Throughout the weekend, \u003ca href=\"https://carnavalsanfrancisco.org/festival/\">there will also be four different block parties\u003c/a>, each with live DJs hitting different musical styles.\u003c/p>\n\u003cp>One of those block parties — Colores de Amor on 19th and Harrison streets — will feature drag performances on Sunday by \u003ca href=\"https://www.instagram.com/per_sia/\">Per Sia\u003c/a> and \u003ca href=\"https://www.instagram.com/sweetestmilksf/\">Dulce De Leche\u003c/a>, along with DJ sets from \u003ca href=\"https://www.instagram.com/djbrownangel/\">Brown Angel\u003c/a>.\u003c/p>\n\u003ch2>Where are the entrances to the Carnaval 2026 festival?\u003c/h2>\n\u003cp>You’ll find free entrances (and exits) on every street from 16th to 24th streets, located at:\u003c/p>\n\u003cul>\n\u003cli>16th and Harrison\u003c/li>\n\u003cli>17th and Alabama\u003c/li>\n\u003cli>18th and Folsom\u003c/li>\n\u003cli>19th and Alabama\u003c/li>\n\u003cli>20th and Folsom\u003c/li>\n\u003cli>20th and Alabama\u003c/li>\n\u003cli>21st and Folsom\u003c/li>\n\u003cli>23rd and Folsom\u003c/li>\n\u003cli>23rd and Alabama\u003c/li>\n\u003cli>24th and Harrison.\u003c/li>\n\u003c/ul>\n\u003cp>Visitors cannot bring \u003ca href=\"https://carnavalsanfrancisco.org/faq/#festival\">outside alcoholic beverages\u003c/a> into the festival space. Alcohol is available for purchase inside the festival, but only in specific enclosed areas requiring visitors to provide identification for access. Pets are also not permitted in the festival space — except if they’re service animals.\u003c/p>\n\u003cp>Remember: Security staff will be present at each entrance to check bags.\u003c/p>\n\u003ch2>\u003ca id=\"MAPWherecanIwatchtheCarnavalSanFranciscoparade\">\u003c/a>When does the Carnaval Grand Parade start, and what’s the parade route?\u003c/h2>\n\u003cp>The Carnaval Grand Parade takes place on Sunday. Starting at 10 a.m., the parade features dozens of floats and hundreds of dancers moving through the entire neighborhood.\u003c/p>\n\u003cp>The Carnaval parade route begins at Bryant and 24th streets, then moves through 24th Street, takes a right on Mission Street, stays on that street all the way to 15th Street, and wraps up at Harrison and 15th streets.\u003c/p>\n\u003cp>The dancers and musicians in the parade perform nonstop the whole way, which is a particularly impressive feat when you consider that some of the most elaborate outfits can weigh up to 40 pounds.\u003c/p>\n\u003cp>On top of that, there’s a contest element — as contingents, or comparsas, compete against each other in multiple categories. Judges will rank each comparsa on originality, choreography and production design.\u003c/p>\n\u003cfigure id=\"attachment_12083325\" class=\"wp-caption alignleft\" style=\"max-width: 547px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12083325\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/ParadeMap_2026-1.jpg\" alt=\"\" width=\"547\" height=\"708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/ParadeMap_2026-1.jpg 547w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/ParadeMap_2026-1-160x207.jpg 160w\" sizes=\"auto, (max-width: 547px) 100vw, 547px\">\u003cfigcaption class=\"wp-caption-text\">The Grand Parade and festival map for the 2026 Carnaval San Francisco \u003ccite>(Carnaval San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you can’t make it exactly at the 10 a.m. parade start time, don’t worry: The parade goes on for hours before finally wrapping up at 2 p.m.\u003c/p>\n\u003cp>Can’t make it in person at all? \u003ca href=\"https://www.cbsnews.com/sanfrancisco/live/\">KPIX will be streaming the parade online.\u003c/a>\u003c/p>\n\u003ch2>A few things to look for at the Carnaval San Francisco Grand Parade\u003c/h2>\n\u003cp>What makes San Francisco’s Carnaval distinct from other Carnaval celebrations you may see in Rio de Janeiro or Barranquilla is that it embraces the multiple traditions and histories of California’s Latin American and Caribbean diasporas.\u003c/p>\n\u003cp>One tradition that San Francisco has carried on for decades: a few weeks before Carnaval weekend, community members choose a new King and Queen of Carnaval. This year, Chris Cornelious and Mizzy Ng will wear the crowns during the parade.\u003c/p>\n\u003cp>The 70 different comparsas that make up this year’s parade include long-standing groups like Flavaz of D’ Caribbean, who’ve won multiple Carnaval categories year after year with high-energy choreography representing the music of Trinidad and Tobago.\u003c/p>\n\u003cp>You can also spot the contingent from Tradición Peruana Cultural Center — one of the oldest community-led groups nationwide dedicated to Peruvian culture, which, despite losing its San Francisco home \u003ca href=\"https://missionlocal.org/2026/01/sf-peruvian-cultural-center-closes/\">earlier this year\u003c/a>, has continued to work with public schools to promote Peruvian dance and drumming.\u003c/p>\n\u003cp>And while you dance to the music, make sure to pay close attention to what the performers are wearing. Many comparsas start preparing their parade outfits months in advance.\u003c/p>\n\u003cp>For example, dancers with Carnaval Putleco, a comparsa which \u003ca href=\"https://www.kqed.org/news/11987673/carnaval-putleco-brings-a-oaxacan-festival-of-colors-to-the-bay-area\">honors the culture of Putla, Oaxaca,\u003c/a> by dancing with tiliches: incredibly colorful and elaborate full-body suits made by hand with hundreds of ribbons, shells and beads.\u003c/p>\n\u003cp>\u003ca href=\"https://carnavalsanfrancisco.org/parade/\">See the full list of participating comparsas at Carnaval San Francisco.\u003c/a>\u003c/p>\n\u003ch2>If the Carnaval San Francisco Grand Parade is free, can I just show up?\u003c/h2>\n\u003cp>Yes: no tickets or registration are required for the Carnaval parade — or the festival itself. Just show up anywhere along the parade route and enjoy the show.\u003c/p>\n\u003cp>However, if you want a unique vantage point, \u003ca href=\"https://givebutter.com/2026GrandstandSeating\">you can purchase special Grand Stand seats for the Carnaval parade\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11987820\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987820\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-22-BL.jpg\" alt=\"Several people dressed in decorative attire walk down the street during a parade.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-22-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-22-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-22-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-22-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-22-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-22-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Amando Herrera Villa wears a tiliche handmade by his wife, Martha Cortés Rojas, with beads and ayoyote shells, during the Carnaval Grand Parade in San Francisco’s Mission District. Herrera Villa is part of the Oaxacan group Carnaval Putleco. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These elevated bleachers, located along Mission Street between 22nd and 23rd streets, are next to the judges’ tables, where each contingent will pause and perform for an extra amount of time. Keep in mind that Grand Stand tickets will only be available before the parade and will not be sold day of.\u003c/p>\n\u003cp>There are no truly bad spots from which to watch the parade, but if you post up at 24th Street, you’ll be much closer to the performers — albeit a bit more cramped with foot traffic. If you’re on Mission Street, you’ll definitely have a lot more room to move around.\u003c/p>\n\u003ch2>Who’s headlining this year at Carnaval San Francisco?\u003c/h2>\n\u003cp>Over 50 musicians, DJs and dance groups will perform throughout the weekend across the four stages and five block parties located throughout Harrison Street.\u003c/p>\n\u003cp>This year’s headliner is Mi Banda el Mexicano de Casimiro — and getting the band to Carnaval is a dream come true, Durán said. When organizers made the announcement last month on social media, hundreds of fans quickly posted how excited they were about the group coming to the festival.\u003c/p>\n\u003cp>Even if you don’t know the group’s music just yet, stick around and watch how fans dance. Many of Banda El Mexicano’s greatest hits helped the \u003ca href=\"https://www.dazeddigital.com/art-photography/article/61840/1/quebradita-los-angeles-subculture-vaquero-cowboy-dance-james-pearson-howes-photo\">quebradita genre\u003c/a> of Mexican regional music reach wider audiences on both sides of the border throughout the 90s. And since dancing quebradita is an acrobatic feat, expect high kicks, flips in the air and backbends from within the crowd — all in one song.\u003c/p>\n\u003cp>\u003ca href=\"https://carnavalsanfrancisco.org/festival/\">See the full list of performers at Carnaval San Francisco.\u003c/a>\u003c/p>\n\u003ch2>Is Carnaval San Francisco family-friendly?\u003c/h2>\n\u003cp>Yes: For many Bay Area families, going to Carnaval with the kids, teens and grandparents is a decades-long tradition.\u003c/p>\n\u003cp>In the festival space, organizers have set up a Kids Zone at Harrison and 18th Street where families can paint, dance and play drums. Families are also welcome to join the different activities scheduled at La Plaza del Fútbol.\u003c/p>\n\u003cfigure id=\"attachment_11987821\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987821\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-23-BL.jpg\" alt=\"Several people dressed in decorative attire walk down the street during a parade.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-23-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-23-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-23-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-23-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-23-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-23-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Groups from Oaxaca dance on Mission Street during the Carnaval Grand Parade in San Francisco’s Mission District on May 26, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You’ll also find an area set up for skateboarding on 23rd and Harrison, next to a health and wellness pavilion offering testing for both COVID-19 and blood pressure.\u003c/p>\n\u003cp>Event staff will be present at several points throughout the festival, including an information booth on 19th and Harrison.\u003c/p>\n\u003ch2>\u003ca id=\"WherecanIfindparkingatCarnavalSanFrancisco\">\u003c/a>How do I get to Carnaval San Francisco? What about parking?\u003c/h2>\n\u003cp>If you’re planning to drive into the Mission during Carnaval weekend, it’s not going to be easy.\u003c/p>\n\u003cp>The areas surrounding Harrison Street, from 16th to 24th streets, will be closed off to cars the whole weekend, which means a huge amount of the neighborhood’s parking spots will be off-limits. Even residents will have to move their cars to make way for the festival, so there’ll be a lot of competition for the few remaining spots left.\u003c/p>\n\u003cp>“Driving in is not the best idea,” said Durán, who recommends that attendees instead use public transit to get to the celebrations.\u003c/p>\n\u003cfigure id=\"attachment_11987822\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987822\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-26-BL.jpg\" alt=\"Several people dance on the sidewalk during a parade.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-26-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-26-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-26-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-26-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-26-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-26-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Spectators dance during the Carnaval Grand Parade in San Francisco’s Mission District on May 26, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But if you do need to drive, he suggested looking for a spot to the west of Harrison Street (past Valencia Street) as the streets on the eastern half of the Mission District will see the most competition for parking.\u003c/p>\n\u003cp>On Sunday, all cars parked along the Grand Parade route will have to move, including Mission Street from 24th Street to 15th Street, chunks of 24th and 15th streets as well, and sections of Bryant Street.\u003c/p>\n\u003cp>If you live on any of the streets that’ll be taken over by Carnaval this weekend and need to move your car in or out of your garage, look for a Carnaval staff member so they can escort your vehicle through the emergency access lanes.\u003c/p>\n\u003ch2>Taking public transit to Carnaval San Francisco\u003c/h2>\n\u003cp>BART will continue operating with a weekday schedule at both 16th and 24th Mission stations.\u003c/p>\n\u003cp>On Saturday, you can ride the 22, 33, 55 and 48 Muni bus routes, which will pass near the festival entrances, and the 9, 12, 14, 14R and 49 bus lines can drop you off a few blocks away. Prepare for your trip on Muni \u003ca href=\"https://www.sfmta.com/trip-planner\">using SFMTA’s online planning tool\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11911716\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11911716\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/RS42256_030_KQED_SanFrancisco_Mission_03202020_9678-qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/RS42256_030_KQED_SanFrancisco_Mission_03202020_9678-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/RS42256_030_KQED_SanFrancisco_Mission_03202020_9678-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/RS42256_030_KQED_SanFrancisco_Mission_03202020_9678-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/RS42256_030_KQED_SanFrancisco_Mission_03202020_9678-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/RS42256_030_KQED_SanFrancisco_Mission_03202020_9678-qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A bank of BART turnstiles at 24th Street Station. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SFMTA officials confirmed with KQED that the complete list of Muni service affected by the festival and parade will be available a few days ahead of Carnaval.\u003c/p>\n\u003cp>If you want to avoid congestion caused by all the changes to Muni service, your best bet would be to take BART to either 16th or 24th Mission BART stations.\u003c/p>\n\u003cp>Prepare for your trip on BART \u003ca href=\"https://www.bart.gov/planner\">using the agency’s online planning tool\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>This story was reported for K Onda KQED, a monthly newsletter focused on the Bay Area’s Latinx community. \u003ca href=\"https://www.kqed.org/newsletters/k-onda\">Click here to subscribe\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Fabian Ramirez remembers going to \u003ca href=\"https://www.kqed.org/news/tag/carnaval\">Carnaval San Francisco\u003c/a> while growing up in the Mission District. He watched musicians perform throughout the festival and wanted to be just like them.\u003c/p>\n\u003cp>Ramirez is now the lead singer of Grupo 415, a regional Mexican music quartet that is among the 60 musical artists performing this year at Carnaval.\u003c/p>\n\u003cp>“Being from San Francisco, being from the Mission, performing at Carnaval means a lot,” the 19-year-old told me. “It’s an honor.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Personal connections like Ramirez’s illustrate why Carnaval embodies the Bay Area. The concept originated in Latin America, but it has taken on distinctly San Franciscan attributes by showcasing local talent and highlighting the many countries of origin that make up the region’s Latine community, all while building on a global tradition.\u003c/p>\n\u003cp>That ethos is even more relevant this year as the federal government has targeted and terrorized immigrant communities.\u003c/p>\n\u003cp>“We’ve been through economic upturns and downturns, gentrification, the pandemic. We’ve gone through these types of anti-immigration policies in the ‘90s in California,” said Rodrigo Durán, executive director of Carnaval San Francisco. “Carnaval was always there, and we’ll still be there to support, to provide a space where people feel protected. And so we’re ready.”\u003c/p>\n\u003cfigure id=\"attachment_12083187\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12083187\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/240526-Carnaval-090-BL_qed.jpg\" alt=\"\" width=\"1999\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/240526-Carnaval-090-BL_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/240526-Carnaval-090-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/240526-Carnaval-090-BL_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">Loco Bloco dancers perform during the Carnaval Grand Parade in San Francisco’s Mission District on May 26, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Carnaval draws about 500,000 people to the Mission each Memorial Day weekend for two days of music, food and arts. The festival, slated for 11 a.m.-6 p.m. May 23-24, will take over 17 city blocks and include a parade, five stages, a kid zone, 300 exhibitors and vendors, and a soccer pavilion to celebrate this year’s theme, “La Copa del Pueblo — The People’s Cup” in alignment with the upcoming World Cup.[aside postID=news_12072776 hero='https://cdn.kqed.org/wp-content/uploads/sites/10/2026/01/DULCETRICOLOR-10-JL-012526-KQED.jpg']The festival, now in its 48th year, is a celebration of Latino culture and immigrants who have infused the Bay Area with rich traditions, food and music. It’s the third-largest annual festival in San Francisco, following Pride and Lunar New Year.\u003c/p>\n\u003cp>This year’s headliner is Su Majestad Mi Banda El Mexicano de Casimiro, a group that popularized the “electrobanda” style of music in the 1990s.\u003c/p>\n\u003cp>“Selfishly, I’m reliving my childhood memories,” Durán said. “And then there’s this new generation that’s tapping into this vintage music and enjoying that rhythm that’s so energetic and that’s nostalgic at the same time.”\u003c/p>\n\u003cp>Mi Banda El Mexicano’s music blended various genres into danceable party bangers that I grew up listening to and still hit hard today. Songs include \u003cem>La Bota\u003c/em> (\u003cem>The Boot\u003c/em>), \u003cem>Feliz, Feliz\u003c/em> (\u003cem>Happy, Happy\u003c/em>) and \u003cem>Mambo Lupita\u003c/em>.\u003c/p>\n\u003cp>They were avant-garde for challenging social norms of the time and unapologetically pushing risqué dance styles such as “quebradita” and “caballito.” Their biggest hit is \u003cem>No Bailes de Caballito\u003c/em> (\u003cem>Don’t Dance to Caballito\u003c/em>), which includes the lyrics: “The king commands and orders you to dance the caballito — even if your mom gets mad!”\u003c/p>\n\u003cp>Banda El Mexicano “will give us a sense of liberty, a sense of freedom to breathe, to reflect, to enjoy, to have joy in a moment when we’re feeling so distressed and so antagonized,” Durán said.\u003c/p>\n\u003cfigure id=\"attachment_11987826\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987826\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-02-BL.jpg\" alt=\"Two women dressed in decorative attire for a parade look at each other outside.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-02-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-02-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-02-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-02-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-02-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-02-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Alma Mejia (left) and Sandra Sandoval, from the group Xiuhcoatl Danza Azteca, talk before the 2024 Carnaval Grand Parade in San Francisco’s Mission District. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Carnaval’s roots stretch deep into Latin America and Europe. The idea was to throw a big party and use up excess food and energy before Lent, a religious season promoting fasting and spiritual growth preceding Easter.\u003c/p>\n\u003cp>“In the 1970s, people found themselves realizing that there is this wealth of cultures that share similarities, but that have these distinct ways of expressing their traditions and their cultures,” Durán said.\u003c/p>\n\u003cp>Lent usually starts in February or March, which can be rainy in San Francisco, so early festival organizers decided Memorial Day weekend would be a better time of year, Durán said.[aside postID=news_12062734 hero='https://cdn.kqed.org/wp-content/uploads/sites/10/2025/11/231029_OAKDiadelosMuertosFestival_EG-38.jpg']Jose Carrasco, founder of San Francisco dance and arts organization Loco Bloco, started attending Carnaval as a spectator in the 1980s and organized his first parade performance in 1994. The festival brings back memories from his childhood growing up in Louisiana.\u003c/p>\n\u003cp>“My parents would take me and my siblings to the Mardi Gras parades in New Orleans,” he said. “Those were really astounding, especially as a child, to see these giant floats and the music that was playing and all the beads being thrown and the colors and the costumes. It left a lasting impression.”\u003c/p>\n\u003cp>For this year’s Carnaval, Loco Bloco has assembled about 150 dancers and performers, including a 12-piece band, 50 drummers and an elaborate float that will snake through 20 blocks in San Francisco’s Mission District.\u003c/p>\n\u003cp>Planning for the parade starts almost as soon as the previous parade ends. It takes several months to craft a theme, choreography and music followed by rehearsals.\u003c/p>\n\u003cp>Carnaval is about “expressing art and expressing joy and bringing community together and bringing together a lot of people, who aren’t necessarily professional artists or musicians or dancers,” Carrasco said. “It’s a community ritual in which everyone can participate or watch.”\u003c/p>\n\u003cfigure id=\"attachment_11987839\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987839\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-33-BL.jpg\" alt=\"Several women dressed in colorful clothing dance and walk down the street during a parade.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-33-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-33-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-33-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-33-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-33-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-33-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cathedral City High School Ballet Folklórico performs during the Carnaval Grand Parade in San Francisco’s Mission District on May 26, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Loco Bloco’s parade theme this year is “Uprising,” drawing inspiration from the native people of Hawaii and volcanoes, Carrasco said.\u003c/p>\n\u003cp>“Uprising also represents what volcanoes do, and the magma exploding and the magma flowing underground is the lifeblood of the planet,” he said. “We’re trying to provide a vehicle to let the steam off as if it’s magma, the heat, the boiling blood. We’re going to channel it and feel joy and move in the street and feel our power, and say something super important while we’re moving our bodies and our hips, legs, hands and our butts.”\u003c/p>\n\u003cp>For Carrasco, the broader purpose of Carnaval is to preserve cultural identity, fight erasure and empower the community, especially young people.\u003c/p>\n\u003cp>That is certainly the case for Ramirez of Grupo 415, who started playing music at age 7. He connected with his bandmates via social media after the pandemic, when posting about music served as an outlet.\u003c/p>\n\u003cp>The group, which plans to release its first album this summer, is performing at Carnaval for the second time this year.\u003c/p>\n\u003cp>“That was a dream for me: to perform at Carnaval, and then I thought, how am I going to get there?” Ramirez said. “I was like, ‘You know what? Let me reach out to Carnaval and see who I could get in touch with to make this happen,’ because that was always a goal for me and the band to get to perform on a big stage, especially for Carnaval.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story was reported for K Onda KQED, a monthly newsletter focused on the Bay Area’s Latinx community. \u003ca href=\"https://www.kqed.org/newsletters/k-onda\">Click here to subscribe\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Fabian Ramirez remembers going to \u003ca href=\"https://www.kqed.org/news/tag/carnaval\">Carnaval San Francisco\u003c/a> while growing up in the Mission District. He watched musicians perform throughout the festival and wanted to be just like them.\u003c/p>\n\u003cp>Ramirez is now the lead singer of Grupo 415, a regional Mexican music quartet that is among the 60 musical artists performing this year at Carnaval.\u003c/p>\n\u003cp>“Being from San Francisco, being from the Mission, performing at Carnaval means a lot,” the 19-year-old told me. “It’s an honor.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Personal connections like Ramirez’s illustrate why Carnaval embodies the Bay Area. The concept originated in Latin America, but it has taken on distinctly San Franciscan attributes by showcasing local talent and highlighting the many countries of origin that make up the region’s Latine community, all while building on a global tradition.\u003c/p>\n\u003cp>That ethos is even more relevant this year as the federal government has targeted and terrorized immigrant communities.\u003c/p>\n\u003cp>“We’ve been through economic upturns and downturns, gentrification, the pandemic. We’ve gone through these types of anti-immigration policies in the ‘90s in California,” said Rodrigo Durán, executive director of Carnaval San Francisco. “Carnaval was always there, and we’ll still be there to support, to provide a space where people feel protected. And so we’re ready.”\u003c/p>\n\u003cfigure id=\"attachment_12083187\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12083187\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/240526-Carnaval-090-BL_qed.jpg\" alt=\"\" width=\"1999\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/240526-Carnaval-090-BL_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/240526-Carnaval-090-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/240526-Carnaval-090-BL_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">Loco Bloco dancers perform during the Carnaval Grand Parade in San Francisco’s Mission District on May 26, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Carnaval draws about 500,000 people to the Mission each Memorial Day weekend for two days of music, food and arts. The festival, slated for 11 a.m.-6 p.m. May 23-24, will take over 17 city blocks and include a parade, five stages, a kid zone, 300 exhibitors and vendors, and a soccer pavilion to celebrate this year’s theme, “La Copa del Pueblo — The People’s Cup” in alignment with the upcoming World Cup.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The festival, now in its 48th year, is a celebration of Latino culture and immigrants who have infused the Bay Area with rich traditions, food and music. It’s the third-largest annual festival in San Francisco, following Pride and Lunar New Year.\u003c/p>\n\u003cp>This year’s headliner is Su Majestad Mi Banda El Mexicano de Casimiro, a group that popularized the “electrobanda” style of music in the 1990s.\u003c/p>\n\u003cp>“Selfishly, I’m reliving my childhood memories,” Durán said. “And then there’s this new generation that’s tapping into this vintage music and enjoying that rhythm that’s so energetic and that’s nostalgic at the same time.”\u003c/p>\n\u003cp>Mi Banda El Mexicano’s music blended various genres into danceable party bangers that I grew up listening to and still hit hard today. Songs include \u003cem>La Bota\u003c/em> (\u003cem>The Boot\u003c/em>), \u003cem>Feliz, Feliz\u003c/em> (\u003cem>Happy, Happy\u003c/em>) and \u003cem>Mambo Lupita\u003c/em>.\u003c/p>\n\u003cp>They were avant-garde for challenging social norms of the time and unapologetically pushing risqué dance styles such as “quebradita” and “caballito.” Their biggest hit is \u003cem>No Bailes de Caballito\u003c/em> (\u003cem>Don’t Dance to Caballito\u003c/em>), which includes the lyrics: “The king commands and orders you to dance the caballito — even if your mom gets mad!”\u003c/p>\n\u003cp>Banda El Mexicano “will give us a sense of liberty, a sense of freedom to breathe, to reflect, to enjoy, to have joy in a moment when we’re feeling so distressed and so antagonized,” Durán said.\u003c/p>\n\u003cfigure id=\"attachment_11987826\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987826\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-02-BL.jpg\" alt=\"Two women dressed in decorative attire for a parade look at each other outside.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-02-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-02-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-02-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-02-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-02-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-02-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Alma Mejia (left) and Sandra Sandoval, from the group Xiuhcoatl Danza Azteca, talk before the 2024 Carnaval Grand Parade in San Francisco’s Mission District. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Carnaval’s roots stretch deep into Latin America and Europe. The idea was to throw a big party and use up excess food and energy before Lent, a religious season promoting fasting and spiritual growth preceding Easter.\u003c/p>\n\u003cp>“In the 1970s, people found themselves realizing that there is this wealth of cultures that share similarities, but that have these distinct ways of expressing their traditions and their cultures,” Durán said.\u003c/p>\n\u003cp>Lent usually starts in February or March, which can be rainy in San Francisco, so early festival organizers decided Memorial Day weekend would be a better time of year, Durán said.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Jose Carrasco, founder of San Francisco dance and arts organization Loco Bloco, started attending Carnaval as a spectator in the 1980s and organized his first parade performance in 1994. The festival brings back memories from his childhood growing up in Louisiana.\u003c/p>\n\u003cp>“My parents would take me and my siblings to the Mardi Gras parades in New Orleans,” he said. “Those were really astounding, especially as a child, to see these giant floats and the music that was playing and all the beads being thrown and the colors and the costumes. It left a lasting impression.”\u003c/p>\n\u003cp>For this year’s Carnaval, Loco Bloco has assembled about 150 dancers and performers, including a 12-piece band, 50 drummers and an elaborate float that will snake through 20 blocks in San Francisco’s Mission District.\u003c/p>\n\u003cp>Planning for the parade starts almost as soon as the previous parade ends. It takes several months to craft a theme, choreography and music followed by rehearsals.\u003c/p>\n\u003cp>Carnaval is about “expressing art and expressing joy and bringing community together and bringing together a lot of people, who aren’t necessarily professional artists or musicians or dancers,” Carrasco said. “It’s a community ritual in which everyone can participate or watch.”\u003c/p>\n\u003cfigure id=\"attachment_11987839\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987839\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-33-BL.jpg\" alt=\"Several women dressed in colorful clothing dance and walk down the street during a parade.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-33-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-33-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-33-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-33-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-33-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-33-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cathedral City High School Ballet Folklórico performs during the Carnaval Grand Parade in San Francisco’s Mission District on May 26, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Loco Bloco’s parade theme this year is “Uprising,” drawing inspiration from the native people of Hawaii and volcanoes, Carrasco said.\u003c/p>\n\u003cp>“Uprising also represents what volcanoes do, and the magma exploding and the magma flowing underground is the lifeblood of the planet,” he said. “We’re trying to provide a vehicle to let the steam off as if it’s magma, the heat, the boiling blood. We’re going to channel it and feel joy and move in the street and feel our power, and say something super important while we’re moving our bodies and our hips, legs, hands and our butts.”\u003c/p>\n\u003cp>For Carrasco, the broader purpose of Carnaval is to preserve cultural identity, fight erasure and empower the community, especially young people.\u003c/p>\n\u003cp>That is certainly the case for Ramirez of Grupo 415, who started playing music at age 7. He connected with his bandmates via social media after the pandemic, when posting about music served as an outlet.\u003c/p>\n\u003cp>The group, which plans to release its first album this summer, is performing at Carnaval for the second time this year.\u003c/p>\n\u003cp>“That was a dream for me: to perform at Carnaval, and then I thought, how am I going to get there?” Ramirez said. “I was like, ‘You know what? Let me reach out to Carnaval and see who I could get in touch with to make this happen,’ because that was always a goal for me and the band to get to perform on a big stage, especially for Carnaval.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "la-dona-corrientes-album-san-francisco",
"title": "La Doña Traveled to 5 Countries to Make Her Borderless Album, ‘Corrientes’",
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"content": "\u003cfigure id=\"attachment_13988957\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988957\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_004-Edit.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_004-Edit.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_004-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_004-Edit-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_004-Edit-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cecilia Peña-Govea, known as La Doña, poses on the hood of her vintage Chevrolet Impala coupe in West Oakland on April 24, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>This story was reported for K Onda KQED, a monthly newsletter focused on the Bay Area’s Latinx community. \u003ca href=\"https://www.kqed.org/newsletters/k-onda\">Click here to subscribe\u003c/a>.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>One of the songs on \u003ca href=\"https://www.kqed.org/arts/tag/la-dona\">La Doña\u003c/a>‘s new album, \u003cem>Corrientes\u003c/em>, tells the story of her parents’ 44-year-long partnership that started with a chance meeting when her dad was an undergraduate at UC Berkeley and her mom was a law student there.\u003c/p>\n\u003cp>That night, \u003ca href=\"https://www.instagram.com/ladona415/\">La Doña\u003c/a>‘s mom pulled a fiddle out of her car and played a song she called the “Jessie Polka,” a rendition of “Jesusita en Chihuahua,” a beloved folk song composed during the Mexican Revolution.\u003c/p>\n\u003cp>“From that moment on, they had this cultural exchange and this language that they shared,” says La Doña, whose real name is Cecilia Peña-Govea. “They were learning about each other and learning about their own roots and practices.”\u003c/p>\n\u003cp>Her song, “La Que Nos Unió” (“The One that United Us”) is set to an uptempo merengue beat, which, like polka, rouses listeners to get up and dance.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“[The song] is a celebration of their love and the legacy that I’m walking in and the beauty of the musical traditions that they endowed me with,” the 33-year-old says. “I wanted it to be a party song because they’re fun and they’re party animals.”\u003c/p>\n\u003cp>La Doña’s ethos of paying homage to tradition and history while bringing her own style reverberates throughout the 16 songs on \u003cem>Corrientes\u003c/em>, which comes out April 29. This is the second full-length record for the born-and-raised San Franciscan, who started releasing music in 2018.\u003c/p>\n\u003cp>\u003cem>Corrientes\u003c/em> is La Doña’s most ambitious and comprehensive project yet. She incorporates many genres, including some that are tried-and-true for her: cumbia, reggaeton, ranchera, bolero and salsa. She also branches out further into bachata, merengue, electronic dance music and son jarocho, a folk music style that originated in the Mexican state of Veracruz.\u003c/p>\n\u003cp>\u003cem>Corrientes\u003c/em> shows off La Doña’s deep understanding of music while showcasing her brilliance, versatility and expansive range as a singer and songwriter. The album feels like a multinational tour of Latin America with a passionate guide at the helm; while working on the album, she traveled to five countries and collaborated with 40 musicians. Her sultry vocals fit seamlessly, whether she’s singing in English, Spanish or both.\u003c/p>\n\u003cp>https://youtu.be/93ZK9i1wh5k?si=CcW-XD74gTUCrXqu\u003c/p>\n\u003cp>On the cheeky, “Frisco Hates You Too,” collaborators Jada Imani, Stoni and Qing Qi join La Doña for a delicious clap-back banger that takes aim at outsiders who try to force their aesthetics and preferences on Bay Area culture.\u003c/p>\n\u003cp>“If you were born and raised in San Francisco, you’ve always felt this impending doom, right? If gentrification doesn’t get me, then the earthquake’s going to get me. You always feel like something is going to remove you from your city or your space,” she says. “So ‘Frisco Hates You Too’ is related to a quote that Jimmy Fails says in [the movie] \u003ca href=\"https://www.kqed.org/arts/13858829/the-last-black-man-in-san-francisco-hits-home-in-oakland\">\u003cem>The Last Black Man in San Francisco\u003c/em>\u003c/a>, which is, ‘You can’t hate it unless you love it.’”\u003c/p>\n\u003cp>On the bolero, “Consiénteme,” (“Pamper Me”) she sings poetic stanzas in Spanish about passionate love and then switches to English for a spoken word plea for clarity about the relationship: “Dear redacted, did you mean it when you said you wanted to be my baby daddy?”\u003c/p>\n\u003cp>As an independent artist, La Doña takes risks both in music and activism. Her support of Palestinian people amid the war in Gaza has drawn backlash and cost her opportunities, she says, but silence for her is not an option.\u003c/p>\n\u003cp>https://youtu.be/3F5Jncvig3Y?si=AVUoLZOivTchyz0V\u003c/p>\n\u003cp>In the song, “Mentira y La Verdad,” (“Lies and Truth”) La Doña sings about how people have tried to pressure her to stop speaking out, but she refuses to back down.\u003c/p>\n\u003cp>“They come to my concerts. At night, they write to me always criticizing and demanding apologies, but my song today will sound louder tomorrow,” she sings in Spanish.\u003c/p>\n\u003cp>La Doña has a couple of Northern California performances planned, including a \u003ca href=\"https://www.theuctheatre.org/shows/la-dona-15-may\">release show on May 15 at Berkeley’s UC Theatre\u003c/a>, but has not yet set up a tour. She’s at a crossroads as she decides between different graduate school options for this fall.\u003c/p>\n\u003cp>La Doña sat down with KQED to talk about her artistry, her aesthetics and what might come next for her future.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13988958\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988958\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_008-Edit.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_008-Edit.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_008-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_008-Edit-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_008-Edit-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">La Doña poses in the inside of her vintage Chevrolet Impala coupe in West Oakland on April 24, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Blanca Torres:\u003c/strong> On this album, you have some salsa, you have some reggaeton, you have some banda and then the son jarocho. Is any of that new that you’re trying out, or is it all stuff that you’ve been working on for a while?\u003c/p>\n\u003cp>\u003cstrong>La Doña:\u003c/strong> I have been playing salsa since I was a very young girl, especially playing the trumpet. I also grew up listening to and playing a lot of corridos, rancheras, so that also feels very natural for me. Especially bolero, mambo, salsa, how these genres of music are moving freely between countries and across borders has informed so much of my writing and so much of my understanding, both of self and of genres and music in general. Was a stretch production-wise just because, yeah, there’s like 20 different styles on this album, right? Just the nature of getting together 40 musicians who all are masters in their craft. It was a huge undertaking.\u003c/p>\n\u003cp>\u003cstrong>How do you decide if you want a song in Spanish or in English or both? What’s kind of your creative process since you can access so many styles of music?\u003c/strong>\u003c/p>\n\u003cp>Conversationally, I’m more comfortable in English. Musically, I’m more comfortable in Spanish. When I’m writing lyrics or when the song is really led by a story or narrative, I begin composing in Spanish. Whereas if the material is more conversational, then I tend to lean towards English.\u003c/p>\n\u003cp>https://youtu.be/fokeuzQS4Ac?si=dQD1kudLICbeW7FV\u003c/p>\n\u003cp>\u003cstrong>Can you talk about taking very traditional styles and bringing in modern elements? Is that something intentional that you’re doing?\u003c/strong>\u003c/p>\n\u003cp>Everything that I create, I think about how it’s going to be received and how I’m going be able to present it to people because that’s one of the most special and important parts of music — how it is shared with other people in a live setting.\u003c/p>\n\u003cp>\u003cstrong>“Por Un Amor” starts out as a sad story and then it turns at the end. Where did that inspiration come from?\u003c/strong>\u003c/p>\n\u003cp>“Por Un Amor” is actually about my breakup with my ex. As a songwriter, as a storyteller, I always get to tell my story, and I always take up space. Also, I love him very much and honor his story and his side of the struggle. I definitely see that. So I wanted to represent that as well.\u003c/p>\n\u003cp>\u003cstrong>On “Mentira y La Verdad,” you sing about how people have tried to silence you for sharing political views. Can you talk about that song and this experience that you’ve had the last few years?\u003c/strong>\u003c/p>\n\u003cp>I have a very strong moral compass, and that has made it much harder to exist within the music industry because it is such an exploitative and usurping machine. Unfortunately in this system, in this society, we’re going to be engaging with different oppressive systems and we must maintain our own truths and integrity. That’s really the only way to make it out of it alive with our souls intact.\u003c/p>\n\u003cfigure id=\"attachment_13988959\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988959\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_016-Edit.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_016-Edit.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_016-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_016-Edit-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_016-Edit-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">La Doña stands for a portrait against a painted brick wall in West Oakland on April 24, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Some people might look at you and say, “You’re living the dream, you’re making music, you’re performing.” Is that how you see your life?\u003c/strong>\u003c/p>\n\u003cp>I never wanted to be a musician. I had been playing music since I was so little and my parents always told me, “Get a union job. Get something that will pay the bills. Get a pension. You need to be able to retire and buy a house in the Bay Area.” I had these very pragmatic goals for my life.\u003c/p>\n\u003cp>When I started making music, all of that changed. I worked really hard, but I didn’t have an end goal of being a professional musician or a lifelong artist. I have maintained it because I do love music and I do love making music and I do love performing, but in terms of, is this my final form? I don’t think so.\u003c/p>\n\u003cp>\u003cstrong>You applied to a wide variety of graduate programs and schools for fall of 2026. Have you decided?\u003c/strong>\u003c/p>\n\u003cp>No, girl, I’m freaking out. I’m really trying to figure it out. And in short, no, I don’t know where I’m going yet.\u003c/p>\n\u003cp>https://youtu.be/y2a-_w4xRPU?si=1Y99SXRdE_WyMCZU\u003c/p>\n\u003cp>\u003cstrong>You’re clearly rooted in your identity as a Latina, as someone of Mexican descent, as someone from San Francisco. How does your look, your aesthetic relate to your artistry?\u003c/strong>\u003c/p>\n\u003cp>I’ve always looked like this. I’ve also acted like this, I’ve always sung like this. I’ve always been this person. Growing up seeing this Frisco-chola aesthetic and knowing that that’s where I feel comfortable, and that’s where I feel safe, and that is where I felt most like myself. But, also having the self-confidence to try new things and to lean into more adventurous styles and by learning how to sew and design at a young age.\u003c/p>\n\u003cp>I grew up in a household where my mom didn’t really buy me dresses. She didn’t buy me anything pink. I wasn’t allowed to have Barbies. I didn’t have dolls. I didn’t watch Disney. I didn’t watch TV. She wanted me to learn about myself outside of these Eurocentric, sexist and misogynistic views of femininity and what it meant to be a woman. I came to this iteration of myself by a lot of choice-making and a lot of research and a lot of conviction around how I want to look and how I want to present and what feels good for me.\u003c/p>\n\u003cfigure id=\"attachment_13988961\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988961\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_003_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_003_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_003_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_003_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_003_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">La Doña sits behind the wheel of her vintage Chevrolet Impala coupe in West Oakland on April 24, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Research and really understanding the history of music is super important to you, can you talk about that?\u003c/strong>\u003c/p>\n\u003cp>I’m already doing deep ethnographic work and auto-ethnographic work. I’m looking for different ways to talk and think about it. For me, this album was definitely about going deeper and not relying on parts of traditional music that have already been utilized or deemed acceptable or palatable by the general public, but looking at things that I am fascinated by, and that I think are important, and that might not really have as much visibility or as much space carved out within the pop canon.\u003c/p>\n\u003cp>\u003cstrong>What’s the best way for fans to support you?\u003c/strong>\u003c/p>\n\u003cp>I need you to listen to the music and I need you to expand your own experience of music, of self, of the world. Listen with an open mind, listen again, listen with a closed mind. I don’t care, just listen. And, come to the show and buy the vinyl.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>La Doña performs at her \u003ca href=\"https://www.theuctheatre.org/shows/la-dona-15-may\">album release party at the UC Theatre\u003c/a> in Berkeley on May 15, followed by another concert on \u003ca href=\"https://www.harlows.com/event/buscabulla-x-la-do%c3%b1a/harlows/sacramento-california/\">May 17 at Harlow’s in Sacramento\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13988957\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988957\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_004-Edit.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_004-Edit.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_004-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_004-Edit-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_004-Edit-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cecilia Peña-Govea, known as La Doña, poses on the hood of her vintage Chevrolet Impala coupe in West Oakland on April 24, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>This story was reported for K Onda KQED, a monthly newsletter focused on the Bay Area’s Latinx community. \u003ca href=\"https://www.kqed.org/newsletters/k-onda\">Click here to subscribe\u003c/a>.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>One of the songs on \u003ca href=\"https://www.kqed.org/arts/tag/la-dona\">La Doña\u003c/a>‘s new album, \u003cem>Corrientes\u003c/em>, tells the story of her parents’ 44-year-long partnership that started with a chance meeting when her dad was an undergraduate at UC Berkeley and her mom was a law student there.\u003c/p>\n\u003cp>That night, \u003ca href=\"https://www.instagram.com/ladona415/\">La Doña\u003c/a>‘s mom pulled a fiddle out of her car and played a song she called the “Jessie Polka,” a rendition of “Jesusita en Chihuahua,” a beloved folk song composed during the Mexican Revolution.\u003c/p>\n\u003cp>“From that moment on, they had this cultural exchange and this language that they shared,” says La Doña, whose real name is Cecilia Peña-Govea. “They were learning about each other and learning about their own roots and practices.”\u003c/p>\n\u003cp>Her song, “La Que Nos Unió” (“The One that United Us”) is set to an uptempo merengue beat, which, like polka, rouses listeners to get up and dance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“[The song] is a celebration of their love and the legacy that I’m walking in and the beauty of the musical traditions that they endowed me with,” the 33-year-old says. “I wanted it to be a party song because they’re fun and they’re party animals.”\u003c/p>\n\u003cp>La Doña’s ethos of paying homage to tradition and history while bringing her own style reverberates throughout the 16 songs on \u003cem>Corrientes\u003c/em>, which comes out April 29. This is the second full-length record for the born-and-raised San Franciscan, who started releasing music in 2018.\u003c/p>\n\u003cp>\u003cem>Corrientes\u003c/em> is La Doña’s most ambitious and comprehensive project yet. She incorporates many genres, including some that are tried-and-true for her: cumbia, reggaeton, ranchera, bolero and salsa. She also branches out further into bachata, merengue, electronic dance music and son jarocho, a folk music style that originated in the Mexican state of Veracruz.\u003c/p>\n\u003cp>\u003cem>Corrientes\u003c/em> shows off La Doña’s deep understanding of music while showcasing her brilliance, versatility and expansive range as a singer and songwriter. The album feels like a multinational tour of Latin America with a passionate guide at the helm; while working on the album, she traveled to five countries and collaborated with 40 musicians. Her sultry vocals fit seamlessly, whether she’s singing in English, Spanish or both.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/93ZK9i1wh5k'\n title='//www.youtube.com/embed/93ZK9i1wh5k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On the cheeky, “Frisco Hates You Too,” collaborators Jada Imani, Stoni and Qing Qi join La Doña for a delicious clap-back banger that takes aim at outsiders who try to force their aesthetics and preferences on Bay Area culture.\u003c/p>\n\u003cp>“If you were born and raised in San Francisco, you’ve always felt this impending doom, right? If gentrification doesn’t get me, then the earthquake’s going to get me. You always feel like something is going to remove you from your city or your space,” she says. “So ‘Frisco Hates You Too’ is related to a quote that Jimmy Fails says in [the movie] \u003ca href=\"https://www.kqed.org/arts/13858829/the-last-black-man-in-san-francisco-hits-home-in-oakland\">\u003cem>The Last Black Man in San Francisco\u003c/em>\u003c/a>, which is, ‘You can’t hate it unless you love it.’”\u003c/p>\n\u003cp>On the bolero, “Consiénteme,” (“Pamper Me”) she sings poetic stanzas in Spanish about passionate love and then switches to English for a spoken word plea for clarity about the relationship: “Dear redacted, did you mean it when you said you wanted to be my baby daddy?”\u003c/p>\n\u003cp>As an independent artist, La Doña takes risks both in music and activism. Her support of Palestinian people amid the war in Gaza has drawn backlash and cost her opportunities, she says, but silence for her is not an option.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/3F5Jncvig3Y'\n title='//www.youtube.com/embed/3F5Jncvig3Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the song, “Mentira y La Verdad,” (“Lies and Truth”) La Doña sings about how people have tried to pressure her to stop speaking out, but she refuses to back down.\u003c/p>\n\u003cp>“They come to my concerts. At night, they write to me always criticizing and demanding apologies, but my song today will sound louder tomorrow,” she sings in Spanish.\u003c/p>\n\u003cp>La Doña has a couple of Northern California performances planned, including a \u003ca href=\"https://www.theuctheatre.org/shows/la-dona-15-may\">release show on May 15 at Berkeley’s UC Theatre\u003c/a>, but has not yet set up a tour. She’s at a crossroads as she decides between different graduate school options for this fall.\u003c/p>\n\u003cp>La Doña sat down with KQED to talk about her artistry, her aesthetics and what might come next for her future.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13988958\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988958\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_008-Edit.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_008-Edit.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_008-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_008-Edit-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_008-Edit-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">La Doña poses in the inside of her vintage Chevrolet Impala coupe in West Oakland on April 24, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Blanca Torres:\u003c/strong> On this album, you have some salsa, you have some reggaeton, you have some banda and then the son jarocho. Is any of that new that you’re trying out, or is it all stuff that you’ve been working on for a while?\u003c/p>\n\u003cp>\u003cstrong>La Doña:\u003c/strong> I have been playing salsa since I was a very young girl, especially playing the trumpet. I also grew up listening to and playing a lot of corridos, rancheras, so that also feels very natural for me. Especially bolero, mambo, salsa, how these genres of music are moving freely between countries and across borders has informed so much of my writing and so much of my understanding, both of self and of genres and music in general. Was a stretch production-wise just because, yeah, there’s like 20 different styles on this album, right? Just the nature of getting together 40 musicians who all are masters in their craft. It was a huge undertaking.\u003c/p>\n\u003cp>\u003cstrong>How do you decide if you want a song in Spanish or in English or both? What’s kind of your creative process since you can access so many styles of music?\u003c/strong>\u003c/p>\n\u003cp>Conversationally, I’m more comfortable in English. Musically, I’m more comfortable in Spanish. When I’m writing lyrics or when the song is really led by a story or narrative, I begin composing in Spanish. Whereas if the material is more conversational, then I tend to lean towards English.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/fokeuzQS4Ac'\n title='//www.youtube.com/embed/fokeuzQS4Ac'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Can you talk about taking very traditional styles and bringing in modern elements? Is that something intentional that you’re doing?\u003c/strong>\u003c/p>\n\u003cp>Everything that I create, I think about how it’s going to be received and how I’m going be able to present it to people because that’s one of the most special and important parts of music — how it is shared with other people in a live setting.\u003c/p>\n\u003cp>\u003cstrong>“Por Un Amor” starts out as a sad story and then it turns at the end. Where did that inspiration come from?\u003c/strong>\u003c/p>\n\u003cp>“Por Un Amor” is actually about my breakup with my ex. As a songwriter, as a storyteller, I always get to tell my story, and I always take up space. Also, I love him very much and honor his story and his side of the struggle. I definitely see that. So I wanted to represent that as well.\u003c/p>\n\u003cp>\u003cstrong>On “Mentira y La Verdad,” you sing about how people have tried to silence you for sharing political views. Can you talk about that song and this experience that you’ve had the last few years?\u003c/strong>\u003c/p>\n\u003cp>I have a very strong moral compass, and that has made it much harder to exist within the music industry because it is such an exploitative and usurping machine. Unfortunately in this system, in this society, we’re going to be engaging with different oppressive systems and we must maintain our own truths and integrity. That’s really the only way to make it out of it alive with our souls intact.\u003c/p>\n\u003cfigure id=\"attachment_13988959\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988959\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_016-Edit.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_016-Edit.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_016-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_016-Edit-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_016-Edit-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">La Doña stands for a portrait against a painted brick wall in West Oakland on April 24, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Some people might look at you and say, “You’re living the dream, you’re making music, you’re performing.” Is that how you see your life?\u003c/strong>\u003c/p>\n\u003cp>I never wanted to be a musician. I had been playing music since I was so little and my parents always told me, “Get a union job. Get something that will pay the bills. Get a pension. You need to be able to retire and buy a house in the Bay Area.” I had these very pragmatic goals for my life.\u003c/p>\n\u003cp>When I started making music, all of that changed. I worked really hard, but I didn’t have an end goal of being a professional musician or a lifelong artist. I have maintained it because I do love music and I do love making music and I do love performing, but in terms of, is this my final form? I don’t think so.\u003c/p>\n\u003cp>\u003cstrong>You applied to a wide variety of graduate programs and schools for fall of 2026. Have you decided?\u003c/strong>\u003c/p>\n\u003cp>No, girl, I’m freaking out. I’m really trying to figure it out. And in short, no, I don’t know where I’m going yet.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/y2a-_w4xRPU'\n title='//www.youtube.com/embed/y2a-_w4xRPU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>You’re clearly rooted in your identity as a Latina, as someone of Mexican descent, as someone from San Francisco. How does your look, your aesthetic relate to your artistry?\u003c/strong>\u003c/p>\n\u003cp>I’ve always looked like this. I’ve also acted like this, I’ve always sung like this. I’ve always been this person. Growing up seeing this Frisco-chola aesthetic and knowing that that’s where I feel comfortable, and that’s where I feel safe, and that is where I felt most like myself. But, also having the self-confidence to try new things and to lean into more adventurous styles and by learning how to sew and design at a young age.\u003c/p>\n\u003cp>I grew up in a household where my mom didn’t really buy me dresses. She didn’t buy me anything pink. I wasn’t allowed to have Barbies. I didn’t have dolls. I didn’t watch Disney. I didn’t watch TV. She wanted me to learn about myself outside of these Eurocentric, sexist and misogynistic views of femininity and what it meant to be a woman. I came to this iteration of myself by a lot of choice-making and a lot of research and a lot of conviction around how I want to look and how I want to present and what feels good for me.\u003c/p>\n\u003cfigure id=\"attachment_13988961\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988961\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_003_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_003_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_003_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_003_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_003_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">La Doña sits behind the wheel of her vintage Chevrolet Impala coupe in West Oakland on April 24, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Research and really understanding the history of music is super important to you, can you talk about that?\u003c/strong>\u003c/p>\n\u003cp>I’m already doing deep ethnographic work and auto-ethnographic work. I’m looking for different ways to talk and think about it. For me, this album was definitely about going deeper and not relying on parts of traditional music that have already been utilized or deemed acceptable or palatable by the general public, but looking at things that I am fascinated by, and that I think are important, and that might not really have as much visibility or as much space carved out within the pop canon.\u003c/p>\n\u003cp>\u003cstrong>What’s the best way for fans to support you?\u003c/strong>\u003c/p>\n\u003cp>I need you to listen to the music and I need you to expand your own experience of music, of self, of the world. Listen with an open mind, listen again, listen with a closed mind. I don’t care, just listen. And, come to the show and buy the vinyl.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>La Doña performs at her \u003ca href=\"https://www.theuctheatre.org/shows/la-dona-15-may\">album release party at the UC Theatre\u003c/a> in Berkeley on May 15, followed by another concert on \u003ca href=\"https://www.harlows.com/event/buscabulla-x-la-do%c3%b1a/harlows/sacramento-california/\">May 17 at Harlow’s in Sacramento\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>This story was reported for K Onda KQED, a monthly newsletter focused on the Bay Area’s Latinx community. \u003ca href=\"https://www.kqed.org/newsletters/k-onda\">Click here to subscribe\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>When I think back on my childhood summers, a few activities stand out: reading lots of library books, watching \u003cem>The Price is Right\u003c/em>, and picking cherries.\u003c/p>\n\u003cp>I was about eight or nine years old the first time my dad woke my brother and me up at dawn and took us out to work in cherry orchards that surrounded my hometown in Eastern Washington.\u003c/p>\n\u003cp>I remember lying down in the backseat, trying to capture a few more minutes of sleep before we’d arrive and park among the rows and rows of trees, strap a metal bucket to our chests, and embark on a full day of filling that bucket over and over. My dad and brother, who is a year older than I am, often handled the higher branches that required using a ladder, while I excelled at the low-hanging fruit. We’d come home covered in dirt and exhausted.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Last month, California lawmakers \u003ca href=\"https://www.kqed.org/news/12077073/cesar-chavez-was-a-hero-to-farmworkers-now-they-confront-the-pain-of-alleged-abuse\">renamed a state holiday\u003c/a> on March 31 to Farmworkers Day after the \u003ca href=\"https://www.nytimes.com/2026/03/18/us/cesar-chavez-sexual-abuse-allegations-ufw.html\">\u003cem>New York Times\u003c/em> published allegations\u003c/a> that now-disgraced labor rights icon Cesar Chavez had abused young women.\u003c/p>\n\u003cp>The renaming happened swiftly. Lawmakers called the change “long overdue” as if we are rectifying a wrong that should have been fixed years ago. But, to me, this incident reinforces how farmworkers have been marginalized, discriminated against, and overlooked for centuries in the United States since the time enslaved people did most farm work.\u003c/p>\n\u003cfigure id=\"attachment_12077027\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12077027\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/GettyImages-515109272-scaled-e1773940356467.jpg\" alt=\"\" width=\"2000\" height=\"1443\">\u003cfigcaption class=\"wp-caption-text\">Farm labor leader Cesar Chavez pickets outside the San Diego-area headquarters of Safeway markets. It was in protest over the arrest of 29 persons at a Delano, California, Safeway. \u003ccite>(Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My hope would be that this holiday becomes a substantive and longstanding tradition, but I’m skeptical. We have Mother’s Day, but research shows that moms are some of the most overworked, undercompensated and stretched-thin members of society. But, hey, we love our moms!\u003c/p>\n\u003cp>The same type of hollow praise could happen to farmworkers. Farm labor is considered a category separate from all other types of jobs, hence that unartful term “nonfarm jobs” that makes up most jobs in America.\u003c/p>\n\u003cp>According to an \u003ca href=\"https://www.stlouisfed.org/open-vault/2019/july/nonfarm-payrolls-why-farmers-not-included\">explainer\u003c/a> from the Federal Reserve Bank of St. Louis, “The answer may go back to early America. Highly seasonal, farming has always had a special place in our history — and our hearts.”[aside postID=news_12077073 hero='https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/Chavez-Statue-1.jpg']Farm labor is hard to count because workers include farmers, their family members and hired workers who are often seasonal employees. Oh, and a lot of them lack proper authorization to work in the country, so that makes them harder to account for.\u003c/p>\n\u003cp>Plenty of other industries hire seasonal workers and hire undocumented workers, and yet they are counted. Instead, separating farm work from other categories makes it easier for employers to exploit workers and for consumers to build up a protective wall of ignorance. Americans might balk at buying a sweater made by a child in India, but we’re okay eating produce \u003ca href=\"https://www.kqed.org/forum/2010101912263/investigation-lax-state-oversight-endangers-californias-child-farmworkers\">picked by children in our own communities\u003c/a>.\u003c/p>\n\u003cp>U.S. diets and the economy depend on the food harvested here, but Americans, by and large, prefer to look away and not have to recognize farmworkers to the extent we should.\u003c/p>\n\u003cp>Californians take pride in being a state that feeds the rest of the nation with our produce. This state is home to more farmworkers than any other state, with about \u003ca href=\"https://www.epi.org/blog/how-many-farmworkers-are-employed-in-the-united-states/\">800,000 seasonal and full-time workers\u003c/a> each year, representing about \u003ca href=\"https://edd.ca.gov/en/about_edd/news_releases_and_announcements/california-thanks-its-agricultural-workforce-with-45th-annual-farmworkers-appreciation-breakfast/\">2.2 percent\u003c/a> of the state’s workforce.\u003c/p>\n\u003cp>“There has not been a farmworker movement for decades,” said Miriam Pawel, a journalist who has written two books about the United Farm Workers on an \u003ca href=\"https://www.kqed.org/forum/2010101913334/california-confronts-the-cesar-chavez-allegations\">episode of Forum\u003c/a> that aired days after the \u003cem>New York Times\u003c/em> investigation was published. “Declaring something as Farmworker Day instead of Cesar Chavez Day doesn’t really do anything for the farmworkers in the fields who are working in very tough conditions right now.”\u003c/p>\n\u003cp>Farm work has been a job that we regard as something you do if you’re desperate and have no other options, instead of regarding it as a job worthy of dignity and respect because of how hard it is.\u003c/p>\n\u003cp>Looking away from farm work is another way that the labor and economic contributions of immigrants and Latinos are erased. But for many Mexican American families, farm work has served as an accessible stepping stone to achieve the American Dream. Despite the grueling hours and low pay, thousands of families, like my own, have had farmwork in our history.[aside postID=news_12077059 hero='https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/260319-CESAR-CHAVEZ-STREET-MD-01-KQED.jpg']A few years ago, photos of graduates donning their cap and gowns surrounded by orchards went viral. The graduates in regalia, contrasting with the lush green of fruit trees, were both visually and emotionally striking because farm work and education come off as incompatible, as opposites. The images conveyed the message that leaving the fields equates to progress, but those images also conveyed gratitude for parents who taught their children what hard work looks like and that the returns can be worth so much more than a paycheck.\u003c/p>\n\u003cp>Those weeks picking cherries were what we might now call a side hustle, but they were among the most formative experiences of my life.\u003c/p>\n\u003cp>We’d usually spend a few weeks doing this while my dad took vacation from his regular job at a potato processing plant. My parents were very explicit that the reason for taking us to the fields was to teach us the value of hard work and what adults had to do to make money.\u003c/p>\n\u003cp>The lessons from those summers in the fields informed so much of my work ethic and the value of manual labor. I also had the privilege of knowing that my days picking cherries were numbered. I would eventually return to school, and if I earned good grades, my parents told me, I would have other career options. But I also knew there were many people who would spend their whole working lives in the fields.\u003c/p>\n\u003cp>Whenever I buy cherries, I think about how each little bunch was probably picked by someone — a real person, like me — who deserves to be compensated for their hard work. And for that, we have to keep the fight alive and make sure state holidays and words of praise have substance. It means not looking away from farm work and giving that occupation the respect it deserves.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story was reported for K Onda KQED, a monthly newsletter focused on the Bay Area’s Latinx community. \u003ca href=\"https://www.kqed.org/newsletters/k-onda\">Click here to subscribe\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>When I think back on my childhood summers, a few activities stand out: reading lots of library books, watching \u003cem>The Price is Right\u003c/em>, and picking cherries.\u003c/p>\n\u003cp>I was about eight or nine years old the first time my dad woke my brother and me up at dawn and took us out to work in cherry orchards that surrounded my hometown in Eastern Washington.\u003c/p>\n\u003cp>I remember lying down in the backseat, trying to capture a few more minutes of sleep before we’d arrive and park among the rows and rows of trees, strap a metal bucket to our chests, and embark on a full day of filling that bucket over and over. My dad and brother, who is a year older than I am, often handled the higher branches that required using a ladder, while I excelled at the low-hanging fruit. We’d come home covered in dirt and exhausted.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Last month, California lawmakers \u003ca href=\"https://www.kqed.org/news/12077073/cesar-chavez-was-a-hero-to-farmworkers-now-they-confront-the-pain-of-alleged-abuse\">renamed a state holiday\u003c/a> on March 31 to Farmworkers Day after the \u003ca href=\"https://www.nytimes.com/2026/03/18/us/cesar-chavez-sexual-abuse-allegations-ufw.html\">\u003cem>New York Times\u003c/em> published allegations\u003c/a> that now-disgraced labor rights icon Cesar Chavez had abused young women.\u003c/p>\n\u003cp>The renaming happened swiftly. Lawmakers called the change “long overdue” as if we are rectifying a wrong that should have been fixed years ago. But, to me, this incident reinforces how farmworkers have been marginalized, discriminated against, and overlooked for centuries in the United States since the time enslaved people did most farm work.\u003c/p>\n\u003cfigure id=\"attachment_12077027\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12077027\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/GettyImages-515109272-scaled-e1773940356467.jpg\" alt=\"\" width=\"2000\" height=\"1443\">\u003cfigcaption class=\"wp-caption-text\">Farm labor leader Cesar Chavez pickets outside the San Diego-area headquarters of Safeway markets. It was in protest over the arrest of 29 persons at a Delano, California, Safeway. \u003ccite>(Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My hope would be that this holiday becomes a substantive and longstanding tradition, but I’m skeptical. We have Mother’s Day, but research shows that moms are some of the most overworked, undercompensated and stretched-thin members of society. But, hey, we love our moms!\u003c/p>\n\u003cp>The same type of hollow praise could happen to farmworkers. Farm labor is considered a category separate from all other types of jobs, hence that unartful term “nonfarm jobs” that makes up most jobs in America.\u003c/p>\n\u003cp>According to an \u003ca href=\"https://www.stlouisfed.org/open-vault/2019/july/nonfarm-payrolls-why-farmers-not-included\">explainer\u003c/a> from the Federal Reserve Bank of St. Louis, “The answer may go back to early America. Highly seasonal, farming has always had a special place in our history — and our hearts.”\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Farm labor is hard to count because workers include farmers, their family members and hired workers who are often seasonal employees. Oh, and a lot of them lack proper authorization to work in the country, so that makes them harder to account for.\u003c/p>\n\u003cp>Plenty of other industries hire seasonal workers and hire undocumented workers, and yet they are counted. Instead, separating farm work from other categories makes it easier for employers to exploit workers and for consumers to build up a protective wall of ignorance. Americans might balk at buying a sweater made by a child in India, but we’re okay eating produce \u003ca href=\"https://www.kqed.org/forum/2010101912263/investigation-lax-state-oversight-endangers-californias-child-farmworkers\">picked by children in our own communities\u003c/a>.\u003c/p>\n\u003cp>U.S. diets and the economy depend on the food harvested here, but Americans, by and large, prefer to look away and not have to recognize farmworkers to the extent we should.\u003c/p>\n\u003cp>Californians take pride in being a state that feeds the rest of the nation with our produce. This state is home to more farmworkers than any other state, with about \u003ca href=\"https://www.epi.org/blog/how-many-farmworkers-are-employed-in-the-united-states/\">800,000 seasonal and full-time workers\u003c/a> each year, representing about \u003ca href=\"https://edd.ca.gov/en/about_edd/news_releases_and_announcements/california-thanks-its-agricultural-workforce-with-45th-annual-farmworkers-appreciation-breakfast/\">2.2 percent\u003c/a> of the state’s workforce.\u003c/p>\n\u003cp>“There has not been a farmworker movement for decades,” said Miriam Pawel, a journalist who has written two books about the United Farm Workers on an \u003ca href=\"https://www.kqed.org/forum/2010101913334/california-confronts-the-cesar-chavez-allegations\">episode of Forum\u003c/a> that aired days after the \u003cem>New York Times\u003c/em> investigation was published. “Declaring something as Farmworker Day instead of Cesar Chavez Day doesn’t really do anything for the farmworkers in the fields who are working in very tough conditions right now.”\u003c/p>\n\u003cp>Farm work has been a job that we regard as something you do if you’re desperate and have no other options, instead of regarding it as a job worthy of dignity and respect because of how hard it is.\u003c/p>\n\u003cp>Looking away from farm work is another way that the labor and economic contributions of immigrants and Latinos are erased. But for many Mexican American families, farm work has served as an accessible stepping stone to achieve the American Dream. Despite the grueling hours and low pay, thousands of families, like my own, have had farmwork in our history.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>A few years ago, photos of graduates donning their cap and gowns surrounded by orchards went viral. The graduates in regalia, contrasting with the lush green of fruit trees, were both visually and emotionally striking because farm work and education come off as incompatible, as opposites. The images conveyed the message that leaving the fields equates to progress, but those images also conveyed gratitude for parents who taught their children what hard work looks like and that the returns can be worth so much more than a paycheck.\u003c/p>\n\u003cp>Those weeks picking cherries were what we might now call a side hustle, but they were among the most formative experiences of my life.\u003c/p>\n\u003cp>We’d usually spend a few weeks doing this while my dad took vacation from his regular job at a potato processing plant. My parents were very explicit that the reason for taking us to the fields was to teach us the value of hard work and what adults had to do to make money.\u003c/p>\n\u003cp>The lessons from those summers in the fields informed so much of my work ethic and the value of manual labor. I also had the privilege of knowing that my days picking cherries were numbered. I would eventually return to school, and if I earned good grades, my parents told me, I would have other career options. But I also knew there were many people who would spend their whole working lives in the fields.\u003c/p>\n\u003cp>Whenever I buy cherries, I think about how each little bunch was probably picked by someone — a real person, like me — who deserves to be compensated for their hard work. And for that, we have to keep the fight alive and make sure state holidays and words of praise have substance. It means not looking away from farm work and giving that occupation the respect it deserves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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